It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.
A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.
Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.
The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.
The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.
Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.
However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.
The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.
Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Paul McCartney isn’t aiming to change the music world at 83 on this album. “The Boys of Dungeon Lane” is purely about nostalgia, focusing on his childhood, old friends, and the places that had an impression on him. The record is melodic, warm, light, jaunty, and maintains Paul’s identity. It isn’t about trying to emulate albums such as “Band on the Run”; it’s more personal than anything he’s done in years.
As You Lie There :
The opener is a soft track inspired by a mysterious guitar chord that he discovered when working with Andrew Watt. It has a reflective yet dreamy feel that sets the mood for the album. If anything, it’s more thoughtful than a memorable opener.
Lost Horizon :
Unfortunately, it’s one of the weaker tracks. The melody is pleasant, though. It feels like this one was added in haste rather than completed.
Days We Left Behind :
An emotional ode to Liverpool. Paul visits the city, his childhood friends, and life before fame. The melody is quintessentially Paul: elegant, wistful, and instantly familiar.
Ripples in a Pond :
This feels like a lost Wings track. Subliminal arrangement, and charming, but it doesn’t make an impression on you.
Mountain Top :
An adventurous, playful, and psychedelic song that gives the album energy. A welcome surprise from Paul.
Down South :
An ode to the late George Harrison that doesn’t get too sentimental. The lyricism is about travelling down the M1, talking to George. A short one, but the lyrics tell a great story.
We Two:
This is an enigma. It could be Paul discussing friendship, love or maybe both. Simplistic songwriting, which Paul excels at.
Come Inside:
Another weak song. Lacking a strong hook.
Never Know :
An underrated song. The melody takes a few listens to get it. On that, it’ll grow on you.
Home to Us :
Paul teams up with his old pal and Beatle drummer Ringo Starr. I am convinced it is just one long chorus, but it’s warm and nostalgic nonetheless.
Life Can Be Hard:
One of the album’s more honest songs. Paul addresses life’s challenges and ageing without making it too grim.
First Star of the Night:
A wonderful ballad with the trademark McCartney melody reflecting his career in the 70s.
Salesman Saint :
A quirky, eccentric, playful, jazz-inspired track.
Momma Gets By :
Paul discusses family and resilience. It may be emotional but not too sentimental, and it doesn’t bring down your mood. Instead, you feel grateful.
Outro:
“The Boys of Dungeon Lane” is unapologetically nostalgic. Paul isn’t trying to do anything groundbreaking. He is just sharing his past with us. The songs, as I mentioned in the intro, are warm, light, and jaunty. If you want to find tracks with emotional weight, then I suggest ‘Days We Left Behind’, ‘Home to Us’, ‘Down South’, and ‘Momma Gets By’.
The theme and sound don’t matter a jot to his loyal fans, and that’s all that matters.
Song recommendations: ‘Days We Left Behind’, ‘As You Lie There’, ‘Never know’
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.
Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.
Girl Under Grey Cloud:
The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.
I Will Overcome:
The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.
Beware.. The South London Lover Boy:
Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.
The WhatsApp Shakespeare:
A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.
Winter Woman:
The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.
Click Clack Symphony. (feat. Hans Zimmer):
I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.
I Know You’re Hurting:
This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.
Life Boat:
A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.
I Hate The Way I Look Today:
This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.
Goodbye Henry. (feat. Al Green):
Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.
Nightingale Lane.:
This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.
Skin & Bones:
The production gives way to a lyrically emotional song. One for the poets and wordsmiths.
WHERE IS MY HUSBAND!:
Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.
Fields. (feat. Grandad Michael):
Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.
Joy. (feat. Absolutely, Amma):
The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.
Happier Times Ahead.:
A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.
Fin.:
Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.
Outro:
As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.
Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.
What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.
Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’
I was thrilled to listen to “Kiss All the Time. Disco, Occasionally”, as I was expecting to enjoy it after his previous album “, Harry’s House”. An album which was fresh, confident, with plenty of memorable songs, and showed forward progression. Unfortunately, this one didn’t capitalise on that forward progression.
I think it was great that Harry collaborated with Wolf Alice leader Ellie Rowsell, but after each track, the energy faded. Even the disco-inspired ‘American Girls’, and ‘Ready,Steady, Go!’ were repetitive and labourous.
Even the emotional tracks like ‘Coming Up Roses’, and ‘Paint by Numbers’ felt more like fillers than highlights.
What is disappointing is that the record lacks the flow and charm that gave ‘Harry’s House’ accolades galore. There are no standouts or big hooks. The songs are just simply there.
Even the closer ‘Carla’s Song’ gives the album a disappointing finish. I was left wondering what happened to all the energy, big hooks, and forward progression that were in “Harry’s House”. Unfortunately, this album is forgettable and unfocused. Very underwhelming from a lad who knows how to make good records.
A track-by-track review with a bonus track thrown in:
Rocket (feat. Tony Iommi):
This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.
Spies:
The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.
Pretty Face:
Didn’t like it. Too poppy for me.
Bite Your Tongue:
An alternative rock track with spoken word. It may feel odd, but it is playful, adding something different to the album.
Cocky:
Stomping glam-rock energy that’s fun with plenty of swagger.
All My Life:
An Oasis-inspired reflective ballad discussing dreams. Providing one of the more emotional moments on the record.
Human (feat. Jesse & Joy):
Another reflective ballad.
Morrissey:
Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with the former Smiths frontman.
You:
Same attributes as ‘Bite Your Tongue’.
It’s OK Until the Drugs Stop Working:
I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.
Pocket Rocket:
An ethereal and dreamy closer of the standard edition.
G.E.M.B:
I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.
Coda:
“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.
Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’
WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.
Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:
It’s the Most Wonderful Time of the Year:
As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.
XMAS:
I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.
Hot in December:
Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.
At Christmas:
Time for a reflective and tender refrain. Her vocals really sell the story.
Santa Claus Is Coming to Town ft. Frank Sinatra:
I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.
This Time of Year:
Another new track, warm and gentle. Another refrain from the upbeat tempo.
100 Degrees ft Dannii Minogue:
The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks.
Office Party:
Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.
White December:
Melancholic and unmistakably wintry.
Christmas Isn’t Christmas ’Til You Get Here:
An intimate and heartfelt track. Again. Kylie’s vocals shine.
Have Yourself a Merry Little Christmas:
Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.
Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:
More mature
There is no novelty fatigue
Flows better
Showcases more of Kylie’s artistry
Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.
Encore:
What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.
Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’
No need for an introduction, as I already did “CALM”, the album named after all the members’ first names. So, onto 5 Seconds of Summer’s sixth studio record, “Everyone’s a Star!”. This effort features pop-rock, electronica, and electro-punk over reflective lyrics. The album screams confidence with its identity. It may be modern, but it still has the emotional element of the band and their melodic instincts. Now, I listened to the “Full Evolved” version, which is the equivalent of a deluxe edition, featuring songs centred around specific members and therefore giving it an even more personal listen.
As you know, I reviewed ‘CALM” and this album feels like a combination between that and “5SOS5”. Why? because “CALM” had atmospheric experimentation, and “5SOS5” was more crispy pop. The production features tight percussion, clean vocal layering, synth-heavy soundscapes, and is wrapped in personal subjects such as burnout, insomnia, self-image, and vulnerability.
The emotional element is what makes the record strong. Although there are upbeat tracks, they still have undertones of reflection. The likes of The Smiths and Oasis are known for putting melancholic lyricism over upbeat instrumentation, so they have adopted this approach.
Let us have a look at the standout tracks and give them a kind of track-by-track review. I will also include my standouts from the “Fully Evolved” section, but not explain why. I will leave it up to you to figure out:
NOT OK:
The key track that blends vulnerability with a cinematic hook. The listener will resonate with the theme, as the lyrics express… well. The title says it all.
Boyband:
The lads take a comedic approach to being labelled a boy band since they first burst onto the scene with pop-punk, which is a welcome break from the melancholy on the album.
Telephone Busy:
One of my complaints, which I will highlight in due course, is how short the tracks are, and this is a case in point. A pop track aimed at TikTok viewers, who, let us face it, have a short attention span. A polished earmworm track to say the least.
I’m Scared I’ll Never Sleep Again:
A track addressing the band’s struggle with insomnia, and a slower pace to the majority of the rest of the record. This vulnerable, atmospheric track features a sublime arrangement over emotionally powerful lyrics that will move the listener.
The Rocks:
Gritty and raw, and a great way to end the album. A quintessential 5SOS track.
The “Fully Evolved” edition is the most intimate . The tracks, as I mentioned earlier, are specific to each member and therefore more personal, and sound less polished than the majority of the tracks, which, in my opinion, works as a healthy balance. It is also great to see each member tell their own personal stories.
Now, onto something else I mentioned before, and that is how short the tracks are:
Yes, I am impressed by how the themes all tie into the album, but the shortness of the tracks is an obvious drawback.
The standard edition is just over 36 minutes, whereas the “Fully Evolved” edition weighs in at just over 49 minutes, making the listening time that little bit longer. However, most of the tracks are just finding their feet before they come to an end. Bridges, and outros are too short, and some of the songs never reach their entire journeys. This could be achieved by adding more verses or extending the bridges.
Yeah, it does not ruin the listening experience, but on certain tracks, they could have been extended to enhance it. “Fully Evolved” compensates for the brief listen of the standard edition, so I would recommend opting for the “Fully Evolved” edition.
So, my recommendation for ‘Everyone’s a Star!” is the “Fully Evolved” edition. It is emotionally honest, polished, and fits into their wall-of-sound aesthetic. The standard edition is a mixture of pop and vulnerability, and the “Fully Evolved” edition tracks are far from filler, as they take you on a genuinely personal journey of each member.
And once again, let us talk about where the record falls down. The shortness of the tracks. You want to hear more lyricism or instrumentation before they reach their conclusion. The tracks deserve more space to breathe over the quality on display.
The album as a whole is tightly produced, thought-provoking, with melancholic lyrics over upbeat instrumentation, and bonus tracks that act as more than filler,which some records tend to fall foul of.
Song recommendations: ‘Cool as Dad’, ‘NOT OK’, ‘The Rocks’
Everyone has been anticipating the release of “The Life of a Showgirl” to determine if Taylor’s engagement has made her lose her creativity, as she might be less likely to criticise ex-boyfriends. The album promised so much, but what I heard was certainly calmer, yet at the same time, quite underwhelming.
It feels like a step backwards from her previous work, lacking the emotional depth and creative spirit we saw earlier in her career. The title suggests something bright, but the record lacks any energy to be considered “bright”. Instead, what we get is Taylor writing an album for the sake of it.
The opening track is a burst of energy that promises an exciting journey. It’s uptempo, with an infectious bassline, and most importantly, it’s original. The track narrates Taylor’s salvation and her blossoming love with Travis Kelce. However, this energy and originality are not sustained throughout the record.
The subsequent tracks lack the depth and musical creativity that the opening track hinted at. ‘The Fate of Ophelia’, ‘Opalite’ offers a glimmer of something more with its sparkling grooves, but fizzles out.
It becomes quite clear from ‘Father Figure’ and ‘Eldest Daughter’ onwards that the album focuses on her ego rather than her growth as an artist. She tries to portray herself as an underdog on ‘Father Figure’ as she did in her younger days. But it just does not work anymore. Her popularity has soared since those days, so she is far from the “underdog.” As for ‘Eldest Daughter,’ well, I am not convinced; she wanted to write this. She is talking about online culture, but it does not feel genuine; rather, she has been coerced into writing about it.
Then, we have the tone-deaf tracks ‘CANCELLED!’ and ‘Wi$h Li$t’, where she attacks her critics, but the song does not land as well; she lives a privileged lifestyle now.
It does not get better, I’m afraid. ‘Actually Romantic’ takes a vicious swipe at Charli XCX (For the record, I do not like her, either), and then ‘Wood’ lacks the charm and wit to be cheeky pop, which appears to be à la mode. She tries to jump on the bandwagon, but does not offer anything fresh. The lyricism alone shows you that she did not feel comfortable attempting to follow the trend. It just is not her style of writing. Probably another attempt from the people above her trying to control her sound. Corporates should leave the artist to use what suits them.
Unfortunately, the record lacks any insight into the “showgirl” persona that the title suggests. Instead, we have pettiness and tone-deaf affirmations. More of the same, really. Her ego has got in the way of her emotional storytelling, which is still within her soul.
Taylor has the world at her feet, and she had the chance to explore new avenues and push the boundaries, but it feels more like an opportunity to make money. It lacks any artistic flair or emotion. Even her partner in crime, Sabrina Carpenter, could not rescue it. Hopefully, she regains her creative edge on the next album.
Song recommendations: ‘The Fate of Ophelia’, ‘Actually Romantic’
Honest Opinions 