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When Amaarae, a Ghanaian-American singer, songwriter, and producer, gained international recognition from the alté scene in west Africa in 2020, she declared to Pitchfork: “I aspire to be the ultimate African princess of pop.” This year, as she prepared for the release of her second album, Fountain Baby, she raised her goals, proclaiming: “Fountain Baby is first and foremost a pop album. It should not be confined to the label of an ‘Afrobeats’ project.” Challenging limited cultural and social expectations, confidently stating and achieving her desires, and creating catchy, addictive hits with slangy lyrics: these are the defining traits of the 29-year-old pop sensation, who shares similarities with artists such as Björk and Rosalía in her ambitious drive and ability to execute it.
As promised, Fountain Baby is an extravagant and playful album that embodies Amaarae’s diverse cultural background, having grown up between Accra and Atlanta. It features elements of Afrobeats, alté, and even draws inspiration from southern US trap and Janet Jackson’s vocal style. Amaarae’s creative exploration also incorporates punk, R&B, flamenco, melodic rap, g-funk, and soft rock, all complemented by her sweet singing voice. This album is a celebration of excess and ambiguity, with its rich and ever-changing sound.
Amaarae and her co-producers have drawn comparisons to Timbaland and the Neptunes’ early 2000s work, as they infuse global pop music with a luxurious shine, reminiscent of opulent jewelry. In songs like “Big Steppa,” the combination of plush guitar, gliding strings, and bold bursts of brass create a sound similar to high life music. In “Counterfeit,” the Neptunes’ own music is sampled, giving it a playful nursery rhyme-like feel. The track “Wasted Eyes” is a maximalist masterpiece, with percussion created from gunshots. Amaarae collaborated with a kora player and Japanese vocalist Crystal Kay to reinterpret Japanese folk singer Umeko Ando’s song “Battaki,” aligning with Amaarae’s theme of longing for someone who is ultimately not good for her.
The desire that permeates through Fountain Baby takes on various forms. On the frenzied Co-Star, the artist utilizes zodiac signs to navigate casual sexual encounters (“My experience with her felt like a threesome / Must be Gemini”), while also expressing aspirations for material possessions like diamonds and Dior. The album’s title references female genitalia and the lyrics are unapologetically erotic, delving into themes of arousal, taboo touches, and a desire to indulge in sexual pleasures. Amaarae confidently claims her power, wealth, and sexuality through her music. While some experiences are simply for pleasure, as she declares in a playful tone on the lavish track “Disguise” (“I enjoy my coffee with a little bit of head in the morning”), she is also aware of how her desires for power, wealth, and sex intertwine. She acknowledges the possibility of being used by others for any of these desires, singing in a weary falsetto on the airy and buoyant “Reckless & Sweet” (“You’re attracted to me because of my wealth / The thought of me spending money gives you goosebumps”).
Despite the potential obstacles, Amaarae remains unrestrained in her pursuit of satisfaction. On her track “Come Home to God,” she even places herself above all else – “Shawty says she loves me like she loves the Lord / When I’m intimate with her, I feel above the law.” The themes of sex, violence, and suicide build up from a delicate Auto-Tuned ballad reflecting on a troubled relationship (“What’s wrong with us? / Is it that I love you?”) to a fierce, rebellious punk sound with the help of UK rock trio Dream Wife. In the second half, Amaarae’s ego is unapologetic and unapologetically confident – “I don’t care what I’m asking you / Just tell me, ‘Yes’ / Tell me I’m the one / Tell me I’m the best.” Her ego remains unrestrained throughout, but the abundance of tracks on Fountain Baby is a display of generosity, inviting listeners to join Amaarae on her exuberant and self-assured pursuit of pleasure.
Source: theguardian.com
