Celebrating the fifth year of Grande’s R&B classic ‘Positions’

By Antonio Machado

Copy Editor

Coming straight out of four GRAMMY award snubs for “thank u, next,” a record-breaking album that solidified her as a paramount musician in the mainstream, Ariana Grande went almost immediately into the studio to cook up another masterpiece, her sixth studio album, “positions.”

As her third album in the span of two years, “positions” saw Grande step out of her usual rhythm in multiple ways. Grande has experienced an immense amount of trauma and hardships in her life, and she has utilized her music to navigate her feelings toward those events. This album, however, tackled a much different subject matter - sex.

“Positions” was also a departure from Grande’s usual taste of pop, flavored with a sensual R&B and a sprinkle of Hip-Hop on top, all left to bake at 808 degrees for 41 minutes.

The record was initially met with incredibly negative reviews, so much so that Grande scrapped multiple music videos and visuals she had planned for the record, she said in an interview with “Las Culturistas.”

Now, five years since its release, the record is considered one of her best ever and a must-listen in her discography.

“Positions” demonstrates why Grande is hailed as the premier pop star of the 2010s. Her immense vocal range on this record is utilized not just as an augmentation that adds dynamics and flair to each track, but also as a storytelling tool.

Amidst the raunchy trap-pop songs are several R&B-infused ballads that delve deeply into Grande’s insecurities and her struggles with love - both carnal and romantic.

“Not yet healed or ready / should I be goin’ too steady? / Just wanna know is love completely off the table?” Grande sings on career highlight album track, “off the table,” one of Grande’s many collaborations with The Weeknd. She exchanges her usual light, lyric soprano for a grittier, raspy belt to accompany the track’s heavy drums, while The Weeknd juxtaposes her with his quick falsettos that parallel the wistful strings.

Working alongside frequent collaborators Tommy Brown and Victoria Monét, Grande crafted an incredibly rich and sultry soundscape, endowed with luscious strings and intoxicating synths. The production on this record, vocal and instrumental, is absolutely stellar and sets it apart from any of her other albums.

Hazy synths decorate the y2k manifestation anthem “just like magic” wherein she says, “I get everything I want cause I attract it” (Glinda anyone?). The whimsical harmonies that nearly overwhelm the main melodic line aren’t even the most charming part of the track - rather, it’s the way Grande melodically raps on what should be a pop track that’s really spellbinding.

There’s a very good reason “7 rings” is Grande’s biggest single to date - everybody loves when women rap on a pop beat. It’s the exact reason Doja Cat is also featured on this record on what could’ve easily been a Billboard Chart topping hit, “motive.”

Grande’s voice is a full-fledged instrument in and of itself. The way she tackles each melody is methodical, like she has an innate, mathematical understanding of the pop formula.

By all intents and purposes, “34+35” is a rap song. However, the way Grande effortlessly glides across the beat can only be described as a pop melody. There’s something incredibly masterful about how she accentuates every syllable that makes the giddy sex jokes incredibly sticky.

She will be the first person to tell you she has been heavily influenced by Black music, but it’s not until this album where those influences truly shine.

The simmering jazz of “my hair” is something akin to an early Mariah Carey record - down to the final chorus being sung entirely in whistle tone. 

Although “positions” is anything but coy, Grande mostly sings of her sexual desires in a mellow, almost restrained manner. 

One of Grande’s strengths is her ability to subvert expectations. The title of the track “nasty” implies it would easily be the dirtiest song on the album, but instead, it’s a rather tame love song. 

Contrastingly, “love language” implies a more touching display of affection, but that’s not the touching Grande wants to do. “Baby, pardon my French, but can you speak in tongues?” she giggles.

The closing track, “pov,” is perhaps the most beautifully composed in Grande’s discography. “I wanna love me / The way that you love me,” she sings accompanied by a symphony of heartstrings.

Once dismissed, “positions” has withstood the test of time and new pop sensations. This record serves as a testament of Grande’s charisma, uniqueness, nerve, and talent - it’s proof not just of her mastery of her voice, but of her artistry.