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The cover of Las Mujeres Ya No Lloran features a close-up image of Shakira shedding tears, which appear to transform into diamonds as they trickle down her face. This image represents the singer’s recent successes in her career. In her 2023 single Bzrp Music Sessions, Vol 53, Shakira turned the negative aftermath of her breakup with footballer Gerard Piqué into one of her most successful songs yet. Within days of its release, it broke the record for the most streamed track in the world and became the most viewed Latin American song on YouTube. This song’s popularity was so massive that it even had an impact on the stock market. In the lyrics, Shakira calls out Piqué for trading a Ferrari for a Twingo and a Rolex for a Casio, leading to a decrease in both Renault and Casio’s share prices.
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In addition, the album cover hints at more material similar to this, indicating that Las Mujeres Ya No Lloran is Shakira’s equivalent to famous breakup albums such as Bob Dylan’s Blood on the Tracks or Marvin Gaye’s Here, My Dear. This could pique the interest of longtime followers of her career. Her entrance onto the global stage with the release of 2001’s Laundry Service was a highlight of 2000s pop music. At just 24 years old and from Colombia, she brought a refreshingly unique approach to being a pop star. She combined mainstream hits and soft rock ballads with musical experiments that were daring enough to make one question how they got approved by a major record label. These experiments included the use of Gregorian chants, surf guitars, music hall oompah, and nods to Led Zeppelin. While her lyrics may have been perceived as strange to some, attempts to belittle her by insinuating she had a poor grasp of English were proven wrong when translated versions of her Spanish lyrics showed the same unconventional metaphors and imagery. It was all highly entertaining, until the less successful release of She Wolf in the US in 2009 seemed to shake her confidence. This led to her subsequent albums becoming less unique and more mundane. Perhaps the vengeful tone of this album will reignite her creative daring, as evidenced by her alleged decision to display a life-size model of a witch outside her ex’s house as a way of expressing her feelings towards his mother. It appears she is not one to shy away from controversy and may not seek approval from others.
Unfortunately, those with high hopes should lower them. This album primarily focuses on the singer’s romantic struggles, from grief over a failed relationship to harsh criticism of her ex’s flaws, to tentative steps into the dating world. However, towards the end of the album, there are small glimpses of the optimistic Shakira we know from the past. There are references to giving “fire” and “squeezing buttocks” in one of the songs, and another briefly ventures into the world of drum’n’bass. Despite these moments, the majority of the album is a mixture of modern pop styles, including Afrobeats, a piano ballad featuring vocals from Shakira’s children, and reggaeton. The melodies are hit or miss, some catchy but others feeling like they’ve been overused. There is a guest appearance from Cardi B, who adds a bit of vitality with the comparison of her vagina to an empanada. Unfortunately, there are also instances of auto-tune, despite the singer’s evident natural talent. Nevertheless, this is a reflection of the current state of the music industry.
Shakira’s most memorable moments are when she collaborates with bands who are known for their regional Mexican styles, a genre that is gaining popularity in the Americas. She features Grupo Frontera’s song “Entre Parentésis” and a particularly energetic corrido by Fuerza Regida called “El Jefe”. The latter surprises listeners not only with its explicit lyrics – “I work harder than a whore but I fuck like a priest” – but also because it showcases a new side of Shakira. This shows that her adventurous spirit, which used to be her unique selling point, is still present.
Why doesn’t she create more impactful music if she still has the ability? Most of Las Mujeres Ya No Lloran just passes through without making much of an impression, but also doesn’t annoy you: the average state of current pop. Maybe that’s the intention. The album sounds like it was made by someone who believes success comes from playing it safe and that success is the ultimate form of revenge.
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This week, Alexis paid significant attention.
The song “I Don’t Love You” by Charlotte Day Wilson.
A beautiful and elegant piano song with numerous manipulated vocal samples lingering in the background: followers of James Blake’s early explorations are encouraged to explore.
Source: theguardian.com
