In "For All the Dogs," Drake presents an album that feels like a crossroads, a juncture where the artist seems to be questioning the path ahead.
rake's "For All the Dogs" isn't just an album; it's a moment in time, capturing an artist on the precipice of a significant life and career milestone. As he nears 40, the stakes are higher, both for the man and the brand that is Drake. The album opens with "Virginia Beach," a track that serves as a microcosm of Drake's current existential crisis. He raps about the allure and pitfalls of fame, but the subtext is clear: Is this lifestyle sustainable as he approaches middle age?
The guest features on the album, particularly J. Cole's reflective verse on "Mirror Image," serve as both a highlight and a cautionary tale. They offer a glimpse of what Drake could become—an elder statesman of hip-hop who can still hold his own among the younger generation. But they also underscore the album's lack of focus, raising questions about whether Drake is using these collaborations to deflect from his own uncertainties.
Musically, the album is a mixed bag, emblematic of an artist in flux. "First Person Shooter" is a high point, a bold declaration of Drake's ambitions. But then there are tracks like "Rich Baby Daddy" that feel like a retread of themes Drake has explored ad nauseam. The album's length—23 tracks—only exacerbates this sense of inconsistency. It's as if Drake himself isn't sure what he wants to say, so he says it all, for better or worse.
Yet, despite its shortcomings, "For All the Dogs" has moments that hint at a more mature Drake. "Midnight Cruise" is one such track, a haunting ballad that suggests a willingness to explore new emotional and musical terrain.
Lyrically, the album is a reflection of Drake's current state of mind—conflicted, complicated, and at times, tone-deaf. Lines like "She said she was vegan, she eatin' a goat" from "Daylight" feel like Drake is playing it safe, relying on tried-and-true formulas. Others, like "Whipped and chained you like American slaves" from "Slime You Out," have been criticized for their insensitivity, suggesting a lack of self-awareness that is concerning for an artist at this stage in his career.
This album could very well be Drake's last before he turns 40. And what that next chapter will look like is anyone's guess. Will it be a Drake who has evolved, both as an artist and a man, embracing the complexities and responsibilities that come with age? Or will it be a Drake who is stuck in time, clinging to the themes and sounds that made him a star but risk making him irrelevant?
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FKA Twigs' Eusexua, co-produced by Koreless and Eartheater, blends experimental sound and bold visuals, pushing the boundaries of artistic expression and emotional depth.
KA Twigs' Eusexua is a defining moment in her evolving artistry—a meticulously crafted blend of visceral energy, intimate vulnerability, and sonic experimentation. Released as the lead single from her forthcoming album, set to drop on January 24, 2025, Eusexua is a bold statement of intent. Co-produced by Koreless and Eartheater, the song marks a shift for Twigs from the introspective tones of Magdalene toward something more expansive, celebratory, and physically charged.
Twigs has described Eusexua as a “state of being” and “the pinnacle of human experience.” In an Instagram post announcing the single, she explained that Eusexua represents moments when people are fully present, connected, and immersed in physical or emotional experiences. The concept for the song, she shared, was born during a rave in Prague, where she scribbled the idea in “chicken scratch” on the back of her hand. “We rave, we sweat, we kiss, we make love to the booming thud of culture,” she said, capturing the essence of this philosophy.
But what does Eusexua actually mean? Since there is no formal definition in the English dictionary, FKA Twigs provided her own during an interview with British Vogue earlier this year: “It’s like when you’ve been kissing a lover for hours and turn into an amoeba with that person. You’re not human anymore, you’re just a feeling,” she explained. “Or that moment before an orgasm: pure nothingness but also pure focus, in a state of Eusexua. That’s kind of the way I want to live my life right now.”
The lyrics of Eusexua reflect this philosophy, pushing beyond typical romantic tropes. With lines like, “Do you feel alone? / You’re not alone / And if they ask, you say you feel it / But don’t call it love, Eusexua,” Twigs sets the tone for the song’s exploration of presence and embodiment. This track isn’t about love in the traditional sense, but about human connection, shared experience, and transcendence through art, music, and intimacy.
Musically, Eusexua transitions from minimalistic, atmospheric tones to bass-heavy, throbbing beats reminiscent of a rave. Twigs’ voice, soft and ethereal at the beginning, gradually becomes more commanding, mirroring the track’s evolution from restraint to freedom.
The music video, directed by Jordan Hemingway, serves as an essential extension of the track. In a time where attention has become the new gold, and the average single duration has dropped to around 2:30 minutes, FKA Twigs defies the trend by delivering a massive, immersive experience. The Eusexua music video captures viewers’ attention for an astonishing 7 minutes and 57 seconds.
It opens with FKA Twigs sporting a dark pixie haircut, neutral makeup, and a striped suit—stripped of her identity and blending into a sterile office environment. Her look is designed to erase any individuality, portraying her as a cog in the corporate machine. The transformation begins when she receives an email from an unknown sender, reading: "Dear employee, I hope this email finds you... ?... DO YOU FEEL ALONE - /--- YOU ARE NOT ALONE..." As the computer displays system errors, the environment destabilizes, marking the onset of her liberation.
As the song builds, so does the energy in the video. The dancers gradually break free from their rigid movements, entering a state of wild, liberated choreography. FKA Twigs’ own transformation mirrors this, as she sheds her office clothes while still adhering to socially acceptable boundaries. As the narrative progresses, she morphs into the iconic, unrestrained version of herself we know: quirky hairstyles, unusual costumes, and striking visuals that demand attention. Twigs isn’t concerned with conforming to expectations of beauty or bending to the male gaze—she fully embraces the “ugly,” raw, and emotionally charged. Her performance doesn’t aim to be pretty; instead, it’s deeply expressive, bold, and unapologetically authentic.
This track serves as the first glimpse of Twigs’ upcoming album, following 2019’s Magdalene and her 2022 mixtape Caprisongs. While Magdalene was deeply rooted in heartbreak and emotional recovery, Eusexua shifts toward a more celebratory, expansive sound, exploring themes of freedom, physicality, and emotional release. Twigs has described this album as the culmination of years of practice and personal evolution. And if Eusexua is a sample of what the 11-track album has in store—it’s nothing short of perfect.
Whether you love or are just trying to understand her music, there’s no denying the sheer talent and power of FKA Twigs. She remains true to herself while delivering a profound message through her artistry that can sometimes be uncomfortable but is ultimately irresistible. Eusexua is a phenomenal piece of art that challenges, excites, and pushes boundaries.
Watch FKA twigs, Eusexua (Official Music Video):
Ariana Grande’s "The Boy Is Mine" music video with Penn Badgley, Monica and Brandy , released on June 7th, has already hit over 16 million views on YouTube, blending fantasy and humor in a playful, cinematic experience that has everyone talking.
's been over a week since Ariana Grande dropped the purr-fect music video for "the boy is mine," and we still can't get over it. The music video is a total vibe. Released on June 7th, the video has already amassed over 16 million views on YouTube alone, proving that Ariana's feline alter ego is a hit.
Directed by Christian Breslauer, this visual feast is a playful mix of fantasy, humor, and cinematic storytelling that'll have you hitting replay. In this third single from her "eternal sunshine" album, Ariana channels her inner Catwoman in a whimsical NYC overrun by rats (Gotham City vibes, anyone?). The video kicks off with a nod to her album, featuring a commercial for a memory-rewriting clinic called "Brighter Days," a not-so-subtle reference to "Eternal Sunshine of the Spotless Mind." It's also a clever link to her previous music video, "we can't be friends (wait for your love)."
The story follows Catwoman Ariana on her quest to win the heart of Mayor Max Starling, played by the dreamy Penn Badgley (yes, that Penn Badgley of 'Gossip Girl' and 'You'). There's a hilarious subplot about NYC's real-life rat problem (mirroring Mayor Eric Adams' announcement of the city's first "National Urban Rats Summit" on May 22, 2024), with Badgley's character proposing to release feral cats to combat the infestation. Meanwhile, Ariana's brewing up a love potion to snag her man.
However, in true love story fashion, Max Starling sees through Catwoman's mask and falls for the real Grande. Things get even more interesting when Badgley's character smashes her love potion, which splatters into a heart shape with a "T" in the middle. Could this be a hint at the next video for "true story"? We're on the edge of our seats!
But wait, there's more! The video features surprise appearances by Monica and Brandy as news anchors reporting on the rat crisis – a clever nod to their iconic 1998 hit "The Boy Is Mine." Talk about a blast from the past!
Ariana's performance is the star of the show. She's funny, seductive, and totally captivating. It's also refreshing to see Penn Badgley as the object of an obsessive admirer, a stark contrast to his usual role as the stalker Joe Goldberg in "You."
The music video's success isn't just limited to YouTube. The single itself, released on March 8th, has seen a resurgence on the charts, climbing 7 positions to #76 on the Spotify Global Charts with over 182 million streams since its release. It's clear that "the boy is mine" is striking a chord with fans worldwide.
Bottom line: "the boy is mine" is a masterpiece. It's sexy, hilarious, and incredibly entertaining. Ariana Grande has once again proven she's a creative force to be reckoned with. This video is an absolute must-watch!
Sia's back, and she's bringing all the feels. From the empowering anthems like "Little Wings" to the raw vulnerability of "Rock and Balloon", this album is a journey. Get ready to dance, cry, and maybe even find a little bit of yourself in these tracks.
has been 10 years since the world was introduced to Sia's "1000 Forms of Fear." The album debuted at No. 1 on the U.S Billboard 200 and was marked by the globally acclaimed single "Chandelier," making Sia a household name. Since then, Sia has released "This Is Acting" in 2016, several Christmas-themed works, a musical drama "Music - Songs from and Inspired by the Motion Picture" in 2021, and most not ably, a collaboration with Labrinth (the British singer, songwriter, and record producer known for his work on the soundtrack of the HBO series "Euphoria") and Diplo (co-creator and lead member of the electronic dancehall music project Major Lazer) on "Labrinth, Sia & Diplo Presents… LSD", which debuted in 2019. However, it wasn't until May 3, 2024, that Sia released her 10th studio album, "Reasonable Woman", through Monkey Puzzle and Atlantic Records, marking her return to solo album, a venture that has been in the works since 2020.
Produced by Jesse Shatkin and Greg Kurstin (known for his work on Adele’s '30'), "Reasonable Woman" features an expansive list of collaborators. The album consists of 15 tracks with a runtime of just under 50 minutes. However, time seems to fly as Sia keeps listeners engaged with unexpected production and sudden changes in tempo.
The album opens with "Little Wings," co-written with Jesse Shatkin, a long-time collaborator of Sia. This track serves as another motivational anthem, featuring lyrics like "Don't give up, keep trying / I know soon you’ll be flying" and "I know you can't stop crying / But tears dry when you’re flying.” Putting it in one line with 'Unstoppable' and 'Bird Set Free' from her 2016 "album, the track cleverly uses pauses in the accompaniment to emphasize key lyrical moments. The vocal harmonies are exceptionally layered, creating a powerful chorus effect – it’s like 20 Sias are singing at once.
Following this, the album presents the unapologetically braggadocious "Immortal Queen" featuring Chaka Khan. The track takes us on a time machine to both the future and the past, where the Queen is always ‘queening’. “Queen Victoria, Queen of Sheba, Queen of bees, yeah, I'm the queen diva." It's as if a Midjourney prompt said 'give me an immortal queen, more immortal, more queen’ to amplify the slay factor by ten.
It's very fitting to introduce "Dance Alone" with Kylie Minogue right after – two Aussie queens on a quintessential dance track that encourages listeners to let loose. Just throw your hands up and sing: ‘I just wanna dance alone’... 32 times in a row, to be precise. Yes, you read that right.
The tempo slows for "I Had a Heart," the perfect post-breakup song for cathartic release, ending sharply on the word ‘STOP’. It's as if Sia is saying “we had time to cry, but the time is up and now it’s time to move forward”.
Then comes "Gimme Love”, a stadium-ready anthem with an expanded, dramatic feel compared to the single version. Fans can chant along to the lyrics "Gimme love, gimme love, gimme love, baby." The track ends with a shift in beat, signaling yet another change in mood.
"Towards The Sun" describes a new infatuation, with Sia singing about being led towards the sun after hitting a low point. The melody in the chorus echoes "Titanium," providing a familiar and uplifting feel, complemented by an '80s-style instrumental outro.
“Incredible” is one of the many songs that Sia and Labrinth worked on for LSD. First revealed and previewed in the final trailer for the black comedy "Assassination Nation" in September 2018, it was ultimately not included in the soundtrack or the LSD album. However, it has found a fitting place in "Reasonable Woman," and the addition of Labrinth's smooth vocals is, well... incredible.
And of course, we can’t talk about the album without ”I Forgive You”, a solo adaptation of the 2014 collaboration with French artist Gims (or Maitre Gims) titled "Je te pardonne.” This new version features all-English lyrics and, while maintaining the melodic charm of the original, Sia's deeper, emotional vocal delivery sends shivers through the body.
Just after you are done sobbing, comes ”Wanna Be Known," with a perfect balance of chill-step beat and melancholic tunes. Think driving on the Pacific Coast Highway, feeling the breeze in your hair and catching sun rays with your hands, wrapped in Sia’s belting chorus. The production here is impeccable.
"One Day" is a standout, a Bollywood-esque track where Sia takes you on a trip of a lifetime, let it be Milan, Cairo, Paris, or Jamaica. You may or may not know the language, culture, or dance moves, but you are so high on happiness and filled with a sense of freedom that you simply embrace the moment.
Other notable tracks on the album include "Fame Won’t Love You" featuring Paris Hilton and "Champion," a dynamic collaboration with Tierra Whack, Kaliii, and Jimmy Jolliff, reminiscent of 'The Greatest.’ Benny Blanco has also added his touch to ‘Go On,’ and Rosalía has been enlisted as one of the writers on "I Had a Heart."
The album closes with "Rock And Balloon," a raw and vulnerable track with lyrics navigating a journey from deep emotional turmoil to hopeful, pure, child-like metaphors: 'You are my dog to the bone / You are the place I call home'. The musical accompaniment intentionally creates an atmosphere of discomfort, enhancing the emotional depth of Sia's vocal delivery with cracking voice and occasional sniffling, which is almost painfully intimate.
Overall, "Reasonable Woman" serves as a soundtrack for those navigating through dark times, offering a balanced mix of emotional outbursts, motivational anthems, and dance tracks, all with a sense of hope that there is someone out there to lift you out of hell.
While some songs may not reach the iconic status of past hits like ‘Titanium’, ‘Cheap Thrills’, or ‘Chandelier’, the album is a solid collection, showcasing Sia's incredible vocals and impressive production. With that said, "Reasonable Woman" earns a 7.6/10 rating from PopFiltr.
Radical Optimism finds Dua Lipa in a new era of polish and confidence, a shift from her earlier, more unfiltered releases.
ith her 3rd studio album, we meet a mature, sophisticated, and content Dua Lipa. Perhaps the "radical" in Radical Optimism is more about the journey to get here than her current state. The album itself might not be radical, but it is well-poised, and we meet a confident Dua Lipa who has proven her worth.
If her self-titled debut, Dua Lipa, was a manifestation of greatness through raw talent and willpower, and Future Nostalgia was a radical release (during a once-in-a-100-year pandemic) that may have saved everyone from insanity with its optimistic songs like "Levitating", Radical Optimism represents the journey, not just the destination.
With two albums in the top 5 most-streamed on Spotify of all time, acting roles in Barbie and Argyle, a podcast (Dua Lipa: At Your Service) where she has interviewed over 100 guests (including Tim Cook, who flew to London to be interviewed by Dua from the comfort of her living room couch) on seemingly out-of-her-depth topics like AI, the biggest artist newsletter and book club in the world (Service95), her own production, management, and publishing company (RADICAL22), Europe’s best new music festival (Sunny Hill Festival, featuring artists like Miley Cyrus, Calvin Harris, Martin Garrix, J Balvin), her charity organization, the Sunny Hill Foundation, which has built kindergartens for underprivileged children among other charitable endeavors, and the recent acquisition of her music catalog, Dua Lipa has succeeded massively in all her ventures. You would have to be a radical optimist to attempt any of these, yet Dua seems to effortlessly do it all. Dare we say, she’s the Elon Musk of Pop?
While Elon Musk may have her beat on building rockets and implanting brain chips, boring tunnels, sending thousands of satellites to space, running X (former Twitter), building AGI (Artificial General Intelligence), solving autonomous driving, and making electric cars, Dua is arguably doing more things. While writing this review, for a moment we forgot she actually also does music and sells out stadiums and arenas globally on her tours! Last year we wrote about how Dua Lipa is building a billion-dollar empire, and all signs point to that happening sooner rather than later. She'd become one of the very few to accomplish that goal, all while seemingly always being on vacation. Dua Lipa could teach us all a lesson in time management. At the rate she’s going, we wouldn’t be surprised if she made it to Mars before Elon.
Back to the music. For Radical Optimism, Dua says she wrote close to 100 songs, yet only 11 made it on the album. This is her first album in 4 years (has it really been so long since COVID-19 started?). While Taylor Swift and Beyonce gave us albums almost 30 songs long, we expected Dua to have more to say than 36 minutes and 35 seconds of runtime, especially given the gap between albums.
Her songs reveal a confident, content, and sophisticated Dua Lipa. Kevin Parker of Tame Impala offers immaculate production, and the vocals – though a bit over-rehearsed and sometimes feeling compressed – are close to perfect. Lyrics like those in "These Walls" feel honest and chilling. It's mostly a feel-good listen throughout, what’s there not to feel good about? Gone are the raw and emotive vocals, emotional outpourings of her Debut Album, and in are smooth melodies, lines, and vocals that have been perfected note by note. Dua makes no effort to write about anything other than where she is in her own life, which is in and out of romances, constantly being courted, and building her media empire. It's a well-executed album for what it is. We do, however, miss the raw anthems like "New Rules", "Physical", "Levitating", and "Cold Heart". "Training Season" comes the closest to those vibes.
Speaking of which, Dua missed the opportunity to feature some great artists on the album. After all, her collaborations with Elton John, DaBaby, and Miley Cyrus gave us some of her greatest songs. A Troye Sivan feature on "Anything For Love" would have been welcomed. Perhaps we can get this for the remix?
We need this context to properly review Radical Optimism for what it is and not for what it's not. The title, Radical Optimism, suggests something the album doesn't deliver – a radical sound – nor is it a Future Nostalgia 2.0. Instead, it shows where Dua is now and how she got here: raw talent and radical optimism. She's perfecting her musicality and bringing us into a world where things are pretty great. The production is velvety smooth, the vocals a little too perfect, and the lyrics precise. If Radical Optimism marks Dua Lipa perfecting her craft, we can expect a lot more music from her in the near future.
For those nostalgic for the Dua Lipa of her debut album, "Maria" is the closest you will get. Her low register delivers the same feeling now that she delivered on "Hotter Than Hell", reminding us why we fell in love with Dua Lipa in the first place.
If you accept the premise of Radical Optimism, you’ll enjoy it on repeat. Instead of seeking a radical change in sound, focus on the album's themes of confidence, gratitude towards past loves, and remaining hopeful for future relationships. Through this lens, Radical Optimism reveals a heartfelt journey of staying true to oneself as a hopeless romantic, despite life's ups and downs. We welcome Dua’s confident new era and give Radical Optimism an 8.5/10.
Debbii Dawson's 'Happy World' delivers a striking blend of '80s disco and introspective pop, while navigating a whirlwind of emotions.
fter gaining a significant following with her rendition of "Dancing Queen" on "America's Got Talent," Debbii Dawson has carved a niche in the music industry. Her signature style blends elements of alternative pop with a strong narrative approach, drawing listeners into her personal reflections through music. Dawson's musical background, enriched by her multicultural upbringing, adds depth to her songwriting, enabling her to navigate complex themes with ease and authenticity.
"Happy World," released on April 19, 2024, was written by Debbii and composed in collaboration with Kevin Hickey. The song begins with a lyrical setup that places the protagonist in an illusory state, suggested by the lines "Walking 'round in a rose-colored dream," setting the mood for what's to come. The chorus, "House on fire but I'm closing the blinds, / Tell myself, tell myself that I'm fine," is particularly evocative, using vivid imagery to depict the conscious choice to ignore looming disasters. This potent metaphor captures the essence of the song's theme—the tension between reality and the facade of happiness one maintains.
Musically, "Happy World" brilliantly echoes '80s disco style, imitating ABBA's pop aesthetics with catchy melodies and relatable lyrics in the best way possible. The clean production complements the single's themes by employing a mix of upbeat dance-pop rhythms with a slightly melancholic undertone, creating a sonic dichotomy that mirrors the lyrical content. Dawson’s vocal delivery is precise, carrying the underlying sadness of the song without compromising the infectious nature of pop music, making it an instant hit.
Rated at 8 out of 10 by PopFiltr, "Happy World" is proof of Debbii Dawson’s growing mastery over her craft. It’s a piece that not only entertains but also invites reflection, solidifying Dawson's place as a thoughtful and innovative voice in modern pop music.
PEGGY explores themes of mental health, resilience, and self-love through poetic storytelling and powerful vocals, creating a compelling indie-pop experience with her 'DEAR READER' EP.
eggy Owens, known professionally as PEGGY, is an emerging American indie-pop musician who has garnered significant attention in the music industry. Her career soared in 2021 with the viral success of her debut single "FICTIONAL MEN," now boasting over 15 million plays on Spotify.
Released on April 26, 2024, PEGGY's debut EP "DEAR READER" features a blend of new tracks like "FLIGHT RISK" and "30 SECOND LOVE STORY" along with previously released singles "MESS" and "ALICE." The EP showcases PEGGY's talent as an enchanting storyteller who adeptly weaves whimsical and deeply personal themes, challenging traditional fairy tale narratives with a self-reliant protagonist who embraces her individuality with no hiding her flaws rather than falling into victim state and passively waiting for a prince charming in order to be saved.
The opening track, "FEMININE RAGE," is dynamic, blending elements of rock with profound lyrical depth drawn from classic literature. It challenges listeners to reconsider the narratives of female villains, traditionally overshadowed by male perspectives: "Each version of the story / Feels like men get all the glory."
"ALICE' continues to impress with its crowd-pleasing appeal, evidenced by over 7 million Spotify streams. In "MESS," PEGGY addresses mental health struggles such as ADHD, depression, anxiety, panic attacks, and feeling antisocial, all set to an overly simplistic piano accompaniment with ethereal vocals. Despite the heavy themes, she delivers a hopeful message: 'I'm a mess / But that doesn't make me less than you.
"FLIGHT RISK" explores commitment issues through the metaphor of air travel, while "30 SECOND LOVE STORY" captures the fleeting yet profound moments of connection that define our lives: "Something different something new / Spend my whole life in a moment with you."
Throughout the EP, PEGGY maintains a distinctive style. Her music enhances the lyrical content, creating an immersive experience that is both intimate and expansive.
Rated 8.2/10 by PopFiltr, "DEAR READER" is a compelling debut. PEGGY's innovative approach to songwriting and ability to blend familiar characters with somewhat familiar tunes layered with beautiful harmonies make her a unique voice in contemporary indie-pop. The EP invites listeners into a world where they can find their own meanings and leave with a piece of the magic PEGGY so skillfully creates.
Ready to dive into PEGGY's world? Here are the lyrics for you to sing along.
With 'Training Season,' Dua Lipa has us dancing again as though we've just experienced music for the first time.
"Training Season," Dua Lipa's newest single from her still-untitled upcoming third album, the pop powerhouse takes us on a rollercoaster ride through the dizzying highs and lows of modern dating. The song, a vivid encapsulation of her journey towards self-discovery and empowerment, is nothing short of a masterpiece. As Dua channels her inner ABBA with a melodic prowess that strides confidently on a disco beat infused with Middle-Eastern inspired scales, it becomes clear that she has transformed her dating woes into a transformative anthem.
Dua's experience with a series of bad dates serves as the bedrock for "Training Season," informing not only the song's lyrical content but embodying the emotional reservoir from which the track draws. She candidly shares, “I had been on a string of bad dates, and the last one was the final straw. The next morning I arrived at the studio to [cowriters] Caroline and Tobias asking me how it all went and I immediately declared ‘TRAINING SEASON IS OVER,’” illuminating the moment of epiphany that birthed the track.
Dua expands on the theme, stating, “And while it is obviously about that feeling when you are just absolutely done telling people…men specifically in this case, how to date you right; it is also about my training season being over and me growing with every experience. I have never felt more confident, clear or empowered.” Her reflection not only frames "Training Season" as an emblem of personal growth but also positions it as a beacon for listeners navigating their own dating lives. She captures the essence of seeking a connection that transcends the superficial, hinting at a deeper yearning for companionship and mutual growth: "And while it may be that training season is never over for any of us, you start to see the beauty in finding that person to experience it with. You stop looking for the trainees and become more interested in having someone where you are and someone to grow with.”
This sentiment is vividly brought to life in the music video directed by Vincent Haycock, where visual storytelling and choreography delve into the rigors and chaos of dating. Much like the lyrical journey, the video sees Dua navigating through a sea of potential partners, underscoring the song's narrative with a visual punch that's both mesmerizing and reflective of the song's core message.
The production, a collaborative effort with Tame Impala's Kevin Parker and Danny L. Harle, along with lyrical contributions from Tobias Jesso Jr. and Caroline Ailin, ensures that "Training Season" doesn't just resonate on an emotional level but also stands as a sonic delight. It's this amalgamation of personal narrative, stellar production, and Dua's vocal and emotional rawness that propels "Training Season" beyond the confines of a typical pop song into a poignant, empowering anthem.
"Training Season" is Dua Lipa's bold declaration of independence and growth, a mirror to her evolution both as an artist and individual. As the second single from her forthcoming third album, "Training Season" sets an exhilarating precedent for what's to come, promising a body of work brimming with introspection, defiant empowerment, and, of course, Dua Lipa's unmistakable flair for crafting pop anthems that command the dance floor while resonating deeply with the heartbeat of a generation. Dua has us dancing again like we just experienced music for the first time. We give it a 9.5/10.
[Verse 1]
Are you
Someone that I can give my heart to?
Or just the poison that I'm drawn to?
It can be hard to tell the difference late at night
Play fair
Is that a compass in your nature?
Or are you tricky 'cause I've been there?
And, baby, I don't need to learn my lesson twice
[Pre-Chorus]
But if you really wanna go there
You should know I
[Chorus]
Need someone to hold me close
Deeper than I've ever known
Whose love feels like a rodeo
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul
Convеrsation overload
Got me feeling vertigo
[Post-Chorus]
Arе you somebody who can go there?
'Cause I don't wanna have to show ya
If that ain't you, then let me know, yeah
'Cause training season's over
(Training season's over)
[Verse 2]
I tried
To see my lovers in a good light
Don't wanna do it just to be nice
Don't wanna have to teach you how to love me right
I hope
It hits me like an arrow
Someone with some potential
Is it too much to ask for?
[Pre-Chorus]
Who understands I
[Chorus]
Need someone to hold me close
Deeper than I've ever known
Whose love feels like a rodeo
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul
Conversation overload
Got me feeling vertigo
[Post-Chorus]
Are you somebody who can go there?
'Cause I don't wanna have to show ya
If that ain't you, then let me know, yeah
'Cause training season's over
[Bridge]
Can you compete? Now is your time
Run when you hear that whistle blow
Are you on my team or stuck on the sidelines
Waiting for someone to tell you to go?
For someone to tell you to go
[Pre-Chorus]
You should know I
[Chorus]
Need someone to hold me close
Deeper than I've ever known
Whose love feels like a rodeo
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul (If that ain't you, then let me know, yeah)
Conversation overload
[Outro]
'Cause training season's over
'Cause training season's over
Training season's over
Usher's Super Bowl LVIII halftime included hits like "Yeah!" with Lil Jon and Ludacris, "My Boo" with Alicia Keys, and performances featuring H.E.R. and will.i.am.
sher's Super Bowl LVIII halftime show, a meticulously choreographed jaunt through his venerable catalog, landed with the polished sheen of a Las Vegas residency rather than the explosive dynamism often expected of the world's biggest stage. From the outset, with "Caught Up," the performance unfurled as a sleek, if somewhat safe, celebration of Usher's two decades of hits.
The inclusion of Alicia Keys, H.E.R., Lil Jon, Ludacris, and will.i.am promised a dynamic ensemble cast that, on paper, should have delivered an electrifying jolt to the proceedings. Keys' duet on "My Boo" momentarily elevated the set, their voices melding in a familiar embrace that harkened back to their chart-topping days. Yet, the transition from one guest star to the next, particularly H.E.R.'s criminally brief guitar solo, felt more like a series of vignettes than a cohesive narrative, each interlude designed to facilitate yet another of Usher's quick changes rather than to deepen the show's musical exploration.
Will.i.am's appearance during "OMG" brought a flash of electronic vibrancy, a nod to Usher's forays into pop's more danceable realms. However, this, like the rest of the guest appearances, seemed to underscore the evening's overarching approach: hit the familiar notes, keep the energy up, but don't stray too far from the formula.
"U Don't Have to Call," "Burn," "Confessions Part II," and the finale "Yeah!" with Ludacris and Lil Jon, were all delivered with Usher's signature finesse. Yet, the performance, for all its technical excellence, lacked the raw, unscripted moments that transform a halftime show from a mere musical interlude into a cultural touchstone. The audience's reaction, warm yet restrained, seemed to mirror this sentiment, appreciative of the nostalgia but left waiting for a surprise that never came.
In the end, Usher's Super Bowl halftime show was a polished, professional run through his impressive career, executed with the precision of an artist who knows his craft inside and out. Yet, in a venue that has hosted some of the most memorable performances in live entertainment history, the set felt like a missed opportunity to challenge expectations or to redefine Usher's legacy in any significant way. It was a reminder of his place in the pantheon of greats, certainly, but one couldn't help but wonder what might have been had the show dared to take a few more risks.
Lolo Zouaï's latest album, "Crying in the Carwash," comes in the wake of her departure from her label, with songs like "Encore," "How to Love," "Ice Cube," "Lava Lamp," and the title track, which have quickly become regulars on our replay queue for their emotional honesty and narrative allure.
must extend our sincerest apologies for the tardiness of this review. Yet, in full disclosure, our delay can be wholly attributed to the engrossing experience of having Lolo Zouaï's "Crying in the Carwash" on an endless loop. Such is the captivating nature of this album, with the intoxicating pull of "Encore" demanding dozens of listens on its own—it’s a work that simply insists, quite convincingly, on constant replay.
It’s in "Crying in the Carwash" that we’re first immersed in Zouaï’s haunting narratives—caught in an evocative downpour that washes over us track by track. The titular song frames the record—an emblematic portrait of her vulnerability and desires for an emotional deluge in a place devoid of natural rain. Zouaï delivers the lyric "Crying in the carwash / Tryna feel something," amidst a bedrock of atmospheric synths and pulsating beats. The irony is palpable, the imagery arresting—a clever play on the act of crying where no one can see you, mixed with the yearning for real connections amidst the superficial gleam of Hollywood.
"How to Love" progresses with Zouaï earnestly querying the mechanics of affection—a rhythmic exploration of longing and the fervent search for an emotional compass. The raw dispatch, "Gimme, gimme, gimme space 'cause I deserve it / Don't let all this go to waste, I think we're worth it," lays bare the struggle of her relationship, embodying both a plea for understanding and a declaration of her own value.
The crystalline "Ice Cube" then paints a portrait of an awakening heart from its frosted slumber, the music swelling with the kind of anticipatory emotion that attends love's gradual reveal. The lines, “You unfroze my heart / Thought that I could never love / Ice cube melts and here we are,” capture an intimacy that unfolds with cinematic poise—a delicate, heartrending allegory for personal growth and the rediscovery of capacity for love.
The sultry "Lava Lamp," with its hypnotic rhythms, delves into darker desires and a longing for the fervency of untamed passions. Zouaï’s voice, both smoky and smooth, encapsulates the lyrical confessions of a soul tethered to the yearning for more than gentle care—“I want you to love like you hate me / And fuck me so crazy, crazy,” she entreats, outlining a craving for a more tempestuous connection that the steadiness of her current flame fails to satisfy.
But it’s with "Encore" that Zouaï showcases her storytelling prowess, weaving a seductive narrative as she duets with the devil, perhaps a metaphor for the music industry's give-and-take. The devil whispers sweet promises of eternal prominence. "Give me everything I want and more," the devil intones, reinforcing the cost that comes with the opulent temptation of endless fame. Her reply, "Oui, bon appétit," is a crafty acquiescence, fluent in the double entendres of the language of the industry—a nod to the commodification of art and self in the pursuit of success.
Through it all, Zouaï's musical canvas is painted with rich minimalism, her Franco-Algerian heritage, and undertones of R&B, crafting a sound that envelops the listener in its emotional thrum. Her vocal articulations dance with precision—each declaration, each whispered confession resonating warmly in the acute, lived-in quality of the music.
"Crying in the Carwash" is an astonishing display of both vulnerability and sheer ingenuity, unequivocally positioning Lolo Zouaï an artist of great capability. Each track, each verse, and chorus is a composite of her mind bared, leaving us spellbound. Her ability to marry poignancy with pop is nothing short of mesmerizing. Lolo Zouaï is, without a shadow of a doubt, a paragon of artistic brilliance, and "Crying in the Carwash" an offering that commands obsession, appreciation, and audition.
1. Crying in the Carwash
2. How to Love
3. Ice Cube
4. Lava Lamp
5. Encore
Natalie Jane's 'Where Am I' unfolds as a musical diary of a young heart navigating a heartbreak, with Jane's emotive voice and introspective lyrics painting a vivid narrative of love's highs and lows.
atalie Jane's "Where Am I" is a 10-track album, released on November 17, with a runtime of 25 minutes and 24 seconds. Functioning as a diary, the album follows the emotional rollercoaster of a breakup.
The album opens with Jane's reflective monologue, establishing a deeply personal tone. "I'm calling it 'Where Am I', because I don't really know where I am in life... I don't know where I am going to go from here... I guess no one really knows," setting the stage for an album that's raw and real.
The album moves onto "Do or Die,” a standout track with its pulsating beat and phenomenal vocals. The lyrics depict the fierce devotion of young love: "Whisper that I am your burning desire / Feeling the heat, now my heart is on fire..." culminating in a chorus with "I'd sacrifice me, myself and I / 'Cause you and you and I, we're do or die.” There is something almost Shakespearean about this track.
As the album progresses, "Mentally Cheating" slows down the tempo and opens with pensive piano, dancing around the theme of emotional infidelity. The ethereal whistle register in the bridge adds a haunting flair to the track's reflective nature. The motif of unfaithfulness is further examined in "Seven," echoing Bishop Briggs' "River" in its assertive tone, vocal strength, and measured beat. The narrative shifts from the fantasy of a new lover to the post-breakup chaos of swift emotional changes: "Was it ever really love if the night that we broke up / Both went out to go hook up / With the one we told each other not to worry about?"
In "seeing you with other girls,” Natalie highlights the innocence of first love and belief in a fairy-tale ending with the question: "Said that I was the first one… Said that I'd be the last one too / Tell me, does that make me naive for believing you?” With a nod to Lana Del Rey's style in the delivery of “naive,” the track showcases Natalie's vocal adaptability, further transitioning from a whisper to a heart-wrenching cry: “Guess I've thought that I'd be more than just a memory.”
Then comes “AVA.” Wow. It's a story of uncovering infidelity, brimming with genuine anguish and a sense of betrayal. The song opens with a soft piano and shy inquiry about the other girl in question, which later transforms into agonizing doubt: "So why is there a red heart next to her name?”
"If You Died Today" is probably the most emotionally intense track on the album. It ponders the enduring impact of a past relationship, articulating deep feelings of loss and separation: "But if you died today, my life wouldn't change / 'Cause you haven't been in it since the night you walked away / Would your mother call? Would I even know at all? / Even though we're strangers now, I know my heart would break." A moving track embellished with the simplicity of piano in the opening, joined by beautiful strings and drums in the second verse.
"Torture" reveals a more audacious side of Natalie Jane. The electronic backdrop perfectly complements the expression of anger and newfound empowerment post-breakup: "She likes your tattoo, the one I drew. If only she knew, I got one too (Ha)" followed by "I got you tied up, oh, look at that (Look at that) / It’s not the good kind, more like you're trapped / Awake all night, like you're buried alive / And I toss the flower on your grave, they warm you way just fine, ha."
"I Am Her" introduces a distinctive mix of dance beats and choral harmonies, the cocktail of betrayal, pain, and tears sprinkled with karmic justice. The lyrics underscore a newfound fortitude, marking a significant departure from the album's earlier depressing mood.
The album culminates with "Intrusive Thoughts," a song about overthinking that has resonated with fans for its relatable lyrics and impeccable vocals. "What if I get to heaven, and it's not even real / And I die before telling you how I really feel / 'Cause it feels like hell and I just can't help but think / Maybe love's not for me." Returning to acoustic piano and heartfelt lyrics, this track is a candid expression of self-doubt. With the addition of a cello in the second verse, the message sends shivers through the body…
Natalie Jane's "Where Am I" connects with anyone navigating the uncertainties of life and love. Showcasing Jane's remarkable vocal talent and her capacity to express deep emotions through music at just 18 years old (at the time of the album's writing), “Where Am I?” earns a rating of 8 out of 10 from PopFiltr. “Where Am I?” is a solid debut entry from Natalie Jane, which leaves us eagerly anticipating what her second album will bring.
1. Where Am I?
2. Do or Die
3. Mentally Cheating
4. Seven
5. seeing you with other girls
6. AVA
7. If You Died Today
8. Torture
9. I'm Her
10. Intrusive Thoughts
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