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The cover art for Las Mujeres Ya No Lloran shows a closeup of Shakira crying, with her tears turning into diamonds as they slide down her face. This image captures the recent trajectory of the singer’s career. In her 2023 single Bzrp Music Sessions, Vol 53, she channels the negative aftermath of her breakup with footballer Gerard Piqué into one of her most successful songs. Within days of its release, it became the most streamed track in the world and broke the record for the most views on YouTube for a Latin American song. The impact was so significant that it reportedly affected the stock market. In the lyrics, she criticizes her ex for downgrading from a Ferrari to a Twingo and from a Rolex to a Casio, and astonishingly, the stock prices for Renault and Casio dropped in response.
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Additionally, the album cover hints at more to come – suggesting that Las Mujeres Ya No Lloran is Shakira’s monumental post-breakup album, akin to Bob Dylan’s Blood on the Tracks or Marvin Gaye’s Here, My Dear. This revelation may catch the attention of longtime followers of her career. When she burst onto the international music scene with Laundry Service in 2001, the 24-year-old Colombian stood out as a unique and refreshing pop star. She delivered mainstream hits and soulful ballads while also experimenting with unexpected elements, such as Gregorian chants, surf guitars, music hall oompah, and tribute to Led Zeppelin. Some critics patronizingly commented on her strange lyrics and questioned her grasp of English, but a comparison to her Spanish-language versions showed that the bizarre metaphors and imagery were consistent throughout. It was a highly enjoyable spectacle until her 2009 album She Wolf experienced disappointing sales in the US, which seemed to rattle her. Subsequently, Shakira’s albums have become less eccentric and more mundane. However, the fiery attitude on display here may inspire her to reclaim her daring nature. After all, a woman who allegedly placed a life-size witch outside her ex’s house to express her feelings towards his mother doesn’t seem like someone who would bow down and seek approval.
Unfortunately, those who have high hopes for this album should lower them. It mainly focuses on her romantic struggles, from grieving over a failed relationship (Entre Paréntesis) to harshly pointing out her ex’s flaws (Te Felicito), to hesitant attempts at dating again, plagued by doubts and fears which seem to have been alleviated by the conclusion of Nassau (“After doing it nonstop / We repeat it”). There are occasional glimpses of the optimistic and unconventional Shakira of the past, in the lyrics of Puntería (which, if we can trust the translation provided by the record company, includes the intriguing request “give me your fire, squeeze my buttocks”) and in the moment when Cómo Dónde y Cuándo briefly hints at transforming from a We Will Rock You stomping sound into raging drum’n’bass. However, these instances are sparse in an album that primarily explores familiar modern pop styles: some Afrobeats, a grand piano ballad (featuring guest vocals by Shakira’s children), a touch of mournful reggaeton on TQG, and much of the insipid pop-house, inspired by both EDM and disco. The melodies range from strong to annoyingly simplistic: none of them are catchy enough to overshadow the feeling that you’ve heard a lot of this type of music already. Cardi B makes a guest appearance, briefly adding some excitement by comparing her vagina to an empanada, and we also hear the disheartening sound of a vocalist who clearly doesn’t require auto-tuning, yet still submitting to it because that’s what’s expected nowadays.
Shakira’s most memorable moments arise when she collaborates with bands that specialize in regional Mexican sounds, a genre currently gaining popularity in the Americas. On her album Entre Parentésis, she features Grupo Frontera and particularly Fuerza Regida, who deliver an energetic corrido on the final track, “El Jefe.” This song surprises listeners not only with its explicit lyrics – “I work harder than a whore but I fuck like a priest” – but also with its departure from Shakira’s usual musical style. This displays her bold and daring approach, a quality that has defined her as an artist.
Why doesn’t she create more of her striking music if she still has the ability? Most of Las Mujeres Ya No Lloran just breezes through without leaving a strong impression, but also doesn’t bother or annoy you either – the perfect balance of mediocre. Maybe that is the intention here. It seems that the creator of Las Mujeres Ya No Lloran has chosen to prioritize sales and believes that success is the ultimate form of revenge.
music
Alexis spent the week enjoying some music.
The song “I Don’t Love You” by Charlotte Day Wilson.
A beautiful and elegant piano song with a variety of distorted vocals hidden in the background: those who enjoy James Blake’s early experimentation are encouraged to check it out.
Source: theguardian.com
