B
In 2020, Ariana Grande became seen as a saint in the world of pop music, and there’s no denying it. After the tragic terrorist attack at her 2017 Manchester concert, where 22 fans lost their lives, Grande showed incredible grace by organizing the star-studded One Love Manchester benefit concert only two weeks later. The following year, her former boyfriend, rapper Mac Miller, passed away from an accidental overdose, adding to Grande’s heartache. She then began a relationship with comedian Pete Davidson, but their engagement ended quickly as she continued to grieve. However, Grande’s music quickly evolved from her earlier edgy and rebellious R&B sound, to a more sophisticated way of processing her emotions. She began to receive writing credits for her work, with her 2018 album Sweetener serving as a testament to her survival. Just five months later, Grande released Thank U, Next, a more lighthearted album that showed her acceptance and joy, and was written and recorded in mere weeks. Grande expressed her desire to release music like a rapper, without the heavy logistics of the pop industry. Then, one year later, her album Positions explored the delicate balance of healing and moving on. While some considered it a slight dip in quality, the rawness and intimacy of Grande’s musical rebirth was truly remarkable.
After tying the knot in 2021, she slowly began to recover. However, two years later, it all came crashing down due to rumors of Grande’s alleged affair and her involvement with a married co-star. Despite a source saying these claims were baseless, gossip on social media spread like wildfire and even created “evidence” of her supposed history of cheating. In 2023, the usually private musician took to Instagram to express her frustration with being misunderstood and judged by people who don’t know her. Her comeback single, “Yes, And?”, addressed the criticism and reminded haters that her personal life was none of their concern. Unfortunately, the drama only gained more attention, with many people unfollowing her on Instagram after the song’s release. This serves as a sad reminder of how easily public opinion can shift and how social media has bred a sense of entitlement over other people’s lives.
Thankfully, the public’s outcry has not hindered her honesty on her lavish, lively seventh album. The album progresses from self-reflection to implications of her former partner’s betrayal, hinting that she may have been saving her powerful emotions for a specific moment. There are enticing challenges in her lyrics: “I’ll play any role you need me to,” she sings on True Story to whoever is painting her in a bad light, “and I’ll excel at it too”; “You’ve misunderstood me, but at least I look great,” on We Can’t Be Friends (Wait for Your Love). The throbbing bass and vulnerable vocals of the former track bring to mind Jai Paul’s remix of Justin Timberlake’s iconic breakup song Cry Me a River, while the latter carries echoes of Robyn’s electro-pop anthem Call Your Girlfriend, though with a noticeably retro vibe.
Using these acknowledgements, Grande plays with the perspectives of being a victim or a villain, acknowledging that she cannot control either. Beyond these jabs, she is intrigued by the uncertainty of relationships – the album begins with her questioning if she is in the right one – a reality of adult life that she handles with authentic and empathetic maturity, similar to Adele’s divorce-inspired album, 30. The title song refers to the film Eternal Sunshine of the Spotless Mind by Michel Gondry, highlighting the difficulty of easily forgetting; reminiscent of a tiny ballerina in a delicate pink box, the song “I Wish I Hated You” expresses a longing for absolutes, which is ultimately futile. Grande recognizes that living means salvaging what one can from difficult situations and moving forward. In this album, she transitions from being risk-averse and second-guessing to being driven by action and instinct, even if it may be harmful: in the possessive song “The Boy Is Mine” with trap-Aaliyah swagger, she takes full responsibility for causing heartache yet admits, “but I cannot ignore my heart” (underscored with six exclamation marks in the official lyrics). Her lyrics are bluntly honest, making the tedious interlude “Saturn Returns” about astrological growth redundant.
Please ignore the newsletter advertisement and view all of your notifications.
after newsletter promotion
Compared to others in her industry, Grande has never been one to completely change herself. Her recent work, following the year 2020, reflects an artist who is committed to perfecting the connections between Hollywood glamour, classic R&B, and trap’s sharp beat. The majority of the album is led by Grande and her main collaborators Max Martin and Ilya Salmanzadeh (her frequent co-writer, Victoria Monét, now pursuing a solo career, is not present here). Eternal Sunshine is more rich and full-bodied than Grande’s previous album, Positions, which has a light and airy sound. However, the album begins with a surprise in “Bye,” a grand orchestral and disco production that narrates the protagonist’s sense of freedom. Overall, Grande’s style is cool and relaxed, and almost disarming – she effortlessly sings about heartbreak and feeling like too much for someone, as on “Don’t Wanna Break Up Again,” where she turns up the volume on the TV to drown out her tears, showcasing her impressive vocal talent while experiencing emotional pain.
Perhaps that is where it is most fitting to end: regardless, it does not diminish the positivity of the final two songs, which embrace the flaws and simplicity of new love. We are aware that Grande has experienced this before, and the unique vocal variations and unorthodox, lax guitar in “Imperfect for You” suggest she understands the foolishness of her optimism. Love is not infallible. Despite what some may believe, the heart does not always follow strict moral principles. Idolizing Grande does not benefit anyone, and the peaceful, mature “Eternal Sunshine” brings her back down to reality.
music by Sarah
This week, Sarah’s music was enjoyed by Laura.
Sui Zhen – Sleepless
Following the loss of both her mother and newborn son, the Melbourne musician penned the enthralling 13-minute track “Sleepless” which delves into the theme of grief with crystal clarity. The soaring, euphoric electronic production has a similar essence to the works of artists such as Jenny Hval and Let’s Eat Grandma, reaching a crescendo that feels ready to launch into flight.
Source: theguardian.com
