![]() The body of this album-from “sweetener” to “breathin”-is a sweep of lyric–heavy songs that deviate from the standout hits of “no tears left to cry” and “God is a woman” in their more classical R&B sound. Both tracks are easy to listen to, and their lyrics match their tones, but a short track like “raindrops” only really makes sense as a precisely fitting piece of a larger album, a fit which is broken by an aggressive tone and theme shift. Grande’s belting of “she cried” becomes a donkey–kong, elevator music beat with Pharrell Williams convincing you there’s a spark between you and him. The shift from “raindrops” to “blazed,” is a questionable one, and comes early enough in the record for it to have an impact. Where Sweetener falls flat is not in any particular song, but rather in a transition. It rings like a cathedral, setting the somber, tragic tone of the album, but still maintains a Disney style melody. The first track, thirty–eight–second long “raindrops (an angel cried),” is entirely her vocals with no accompaniment. Her previous songs have included runs and belting, and here she offers a lullaby–like tone, which isn't her shying away from her voice but rather embracing a new side of it. Unlike some of her more popular singles (“Break Free,” “Bang Bang,” “Focus”), Grande weaponizes her vocals and centers the entirety of Sweetener around them, embracing the dreaminess of her voice. She knows what her fans want, and subtly acknowledged the effect the bombing had on her and her responsibility to address her fans who still deal with the attack. She breathes new life into that innocent facet of her being to create a comforting, loving voice, rather than one of pity or despair. Most notably, though, this album draws from Grande’s experience with the bombing at her concert in Manchester. Her hit “god is a woman” aptly summarizes all the feminism and pure adult power that Grande has come to stand for. She’s more sexual and serious, delivering an all–around less bubbly sound than her other albums provide. It comes through even in the all–lowercase, twitter–reminiscent titling of her songs.īut Grande, whose visage of innocence and youth has defined her for so long, has (for the most part) shed it in Sweetener. That funny, sweet, smooth–talking girl we all know comes through in “sweetener” and “get well soon,” in which she recognizes and explains her ability to cheer people up. ![]() ![]() In Sweetener, Grande embraces her public image and adds to it with a more honest version of herself. Punctuated with short songs that break up an otherwise unremarkable flow, the album touches on topics such as mental health, relationships and loss. The meaningful elements and lyrics of the songs tie into Grande’s theme of ‘sweetening’ the lives of those around her-a motif that feeds back into her more girlish, innocent brand. From “Love Me Harder” and “Bang Bang” to “Side to Side” and “No Tears Left to Cry,” her music has been defined by an R&B and pop–dominated sound.īut in her newest venture, Sweetener, she trades the bright, hit–generating elements that are so characteristic of her past songs for a raw honesty, resulting in her best pop album yet. ![]() Ariana Grande has been making music for about five years, and for a career so short, her list of hits is impressive.
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