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In 2020, Ariana Grande reached a highly regarded status in the pop music industry. This was widely accepted by everyone. During her concert in Manchester in 2017, there was a terrorist attack that resulted in the death of 22 fans. Shortly after, she organized the One Love Manchester benefit concert, which received praise for her ability to handle the situation with grace. The following year, her ex-boyfriend, the rapper Mac Miller, passed away from an accidental overdose. Grande then entered into a relationship with comedian Pete Davidson, but ended the engagement shortly after due to her ongoing grief. Her musical style evolved from provocative R&B to a more sophisticated way of processing her painful experiences. Grande’s name started appearing on writing credits, as seen in her 2018 album Sweetener, which was her testimony of survival. Just five months later, she released Thank U, Next, which was a lighter declaration of acceptance and joy. This album was written and recorded in a matter of weeks, as Grande wanted to detach from the complications of pop music and release new music in a similar way to rappers. One year later, her album Positions explored the difficult balance of healing and moving on. While it may not have been as high in quality as her previous albums, the intimate and raw nature of this new project was truly remarkable.
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She made a promising recovery when she got married in 2021. However, two years later, her marriage ended due to rumors of Grande’s alleged infidelity and her involvement with a married (but separated) co-star in an upcoming movie adaptation of Wicked. These rumors sparked a backlash, despite sources stating that there was no overlap with their previous relationships. People on social media shared viral videos gathering “evidence” of Grande’s supposed history of cheating. Towards the end of 2023, the typically private musician made a rare statement on Instagram expressing how she felt misunderstood and judged by people who don’t actually know her, based on rumors and assumptions about her life. In January, she released her comeback single, “Yes, And?” reminding haters that everyone’s personal life is their own and to stop worrying about hers. However, the drama surrounding the song highlighted the negatives of social media for those who were previously unaware of it. Unfortunately, many people seemed to care, as Grande lost 360,000 Instagram followers after the song’s announcement. This serves as a sad reminder of how public opinion can change quickly and how social media has encouraged a sense of entitlement over others’ personal lives, leading to destruction and disappointment for Grande, who has always been uncharacteristically open and vulnerable.
Luckily, the public outcry has not hindered her honesty on her lavish and lively seventh album, which transitions from introspection to allusions of her former partner’s disloyalty – hinting that she may have been withholding her emotions for a potential future project. There are tantalizing provocations: “I will play any role you need me to,” she croons to the person badmouthing her on True Story, “and I’ll be great at it too”; “You have misunderstood me, but at least I look this good,” on We Can’t Be Friends (Wait for Your Love). With its erratic bass and vulnerable vocals, the former captures the essence of Jai Paul remixing Justin Timberlake’s quintessential song Cry Me a River about betrayal, while the latter shares the trembling synths and playful electronic embellishments reminiscent of Robyn’s anthem about breaking up a relationship, Call Your Girlfriend – though the result is oddly outdated.
Grande skillfully plays with notions of victimization and villainy, acknowledging her lack of control over these perceptions. However, she is more captivated by the unpredictable nature of relationships, as seen in the opening question, “How do I know if my relationship is right?” This theme is handled with raw honesty and empathy, drawing parallels to Adele’s divorce album, 30. The title track references the film Eternal Sunshine of the Spotless Mind, highlighting the difficulty of forgetting. In the lively track “I Wish I Hated You,” Grande yearns for certainty, acknowledging the challenge of finding absolutes. She recognizes the reality of life, which often involves picking up the pieces and moving on. Her previous risk-averse and indecisive attitude in Positions is replaced by bold action and instinct, even if it may lead to destruction. The possessive track “The Boy Is Mine” showcases Grande’s trap-Aaliyah flair as she takes responsibility for causing tears but also acknowledges her heart’s desires (underscored by six exclamation marks in the official lyrics). Grande’s lyrics are blunt and to the point, rendering the astrology-focused interlude about growth unnecessary.
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Different from some colleagues, Grande has never been one to completely transform herself. Her recent work, after 2020, showcases an artist committed to refining the connections between Hollywood glamour, traditional R&B and the sharp, choppy beats of trap music. Mainly led by Grande and her core collaborators Max Martin and Ilya Salmanzadeh (her usual co-writer Victoria Monét, who is now a solo artist, is not present), Eternal Sunshine has a fuller sound compared to the airy, whisper-like Positions. However, the album starts off with a bit of a diversion in the form of “Bye,” a lavish disco track with orchestral elements that sets the scene for our protagonist’s liberation. Otherwise, Grande’s vibe is laid-back and almost disarming – she breezes through heart-wrenching emotions about dishonesty or feeling like too much for someone, as seen on “Don’t Wanna Break Up Again” where she turns up the TV to drown out her tears, showcasing her effortless vocal skill and making the pain seem fleeting.
Perhaps this is where it is most appropriate to leave it: regardless, it does not detract from the optimism found in the last two songs, which celebrate the flaws and easiness of new love. We are aware that this is not unfamiliar territory for Grande, apparent in the offbeat vocal melodies and dissonant guitar riffs in “Imperfect for You.” It’s evident that she understands the futility of her hope. Love is not infallible. Despite what some fans may believe, the heart does not always operate with morals. Putting Grande on a pedestal does not benefit anyone, and the serene and mature “Eternal Sunshine” brings her back down to reality.
Elisa’s lecture
Laura attended Elisa’s lecture this week.
Sui Zhen – Sleepless
Following the passing of both her mother and newborn child, a Melbourne musician penned Sleepless, a 13-minute masterpiece that delves into the depths of grief. With soaring, euphoric electronic elements reminiscent of Jenny Hval and Let’s Eat Grandma, this track displays a striking clarity and intensity.
Source: theguardian.com
