petal… petal… petal…
By Antonio Machado Associate Editor A mainstream pop artist detailing their issues with fame through their music is not a new concept - fame is notoriously a double-edged sword. But few artists reach the status of Pop Royalty that Ariana Grande has, and even fewer artists refuse to let their guard down. Caricaturized by her high ponytail, higher heels, and even higher vocal range, Ariana has reached the most important level of stardom many artists can only dream of - recognition solely through her first name - but this is simultaneously a level of stardom wherein every aspect of her life is scrutinized, likely more so than some of her other counterparts. Born in the intersection of the controversial “Wicked: For Good” press tour, wherein Grande and co-star Cynthia Erivo’s relationship was under major public scrutiny, and Grande’s “The Eternal Sunshine Tour,” where she faced intense public backlash for her thinness, Grande’s eighth studio album, “petal,” came at a very interesting point in her career. The record serves as Ariana’s attempt to bite back at the public who has relentlessly chewed her out throughout her entire career. It reads as though it would be both a literal and metaphorical “letting down of her hair,” but that’s not the reality. After having herself be misconstrued so often, Ariana tries so hard to control the narrative around her without directly going against the grain, almost as though she were gentle-parenting her insolent fans. On the iridescent synths of “hate that i made you love,” she sings of her disdain for living under the projection of someone else’s insecurities. The true meaning Ariana wants to convey is glazed over by her gossamer voice, creating a delightful pop track which ended up as Spotify’s most streamed song of the summer. Ariana’s approach to music is often almost mathematical. Her understanding of melody and harmony are unparalleled, but on “petal,” she allows herself to be messy. The record simultaneously sounds like nothing she has ever made before and exactly like what someone would expect her music to sound like. Borrowing several aspects from shoegaze, Ariana crafts the entire album inside an experimental, otherworldly soundscape, while still retaining her signature sound. The titular track “petal” serves as the thesis of the record, wherein she sings “this record in rotation / long as she gets the ovation each night / heartbreak won’t bite / this is paradise” in a haunting falsetto atop a staggering bass. It’s a direct acknowledgement of the fact none of the hate she receives will matter as long as the music is good - and it really is. Working alongside Swedish producer Ilya Salmanzadeh, Grande composed some of her most interesting music on this record. On the glittery UK garage of “oh well,” Grande’s ethereal harmonies lay atop these groovy synths that make all of the anxieties she’s opening up about dissolve into the ether. Ariana is at her best when she feels out of reach - as any star should be. “freak” sees Grande almost completely submerge herself in shoegaze, her voice autotuned past the point of recognition and placed directly in the middle of the mix - constantly outside of our grasp. “I won’t do what you say, freak, anytime,” she says to the people who are endlessly unsatisfied with her behavior and appearance. “My pain is music to you / hear me everywhere?” she says on the unearthly “warning signs (interlude).” Prior to the release of the record, Ariana described “petal” as a “feral” album, but oftentimes, she is not necessarily angry - she’s disappointed. It creates a disconnect where audiences expect rage but are met with nuance. It’s an acknowledgement of a toxic parasocial relationship that goes both ways and her difficulties navigating its repercussions. “Keep my heels tall / my ego small / but I’m still Grande” she boasts on “like i do” immediately after an intro of staccato “ah’s.” It’s exactly the caliber of sass her fans want and expect from her pop music, discordant synth stabs and ponytail whipping galore, yet the entire song reads more like a threat than a sex anthem. “You need me like I, you / ‘cause no one f**ks you like I do.” And ultimately, she’s right. Artists like her are few and far between. That’s not to say the record is without fault. The repetition of R&B cut “big feelings” would be less egregious if it weren’t for it being some of her career’s worst lyricism. “Pussy so sweet a tear fell from his eye” is the kind of tongue-in-cheek sexual writing Ariana has done her whole career, but on this track, it comes way too quickly for anyone involved to say it was pleasurable. After 16 years in the spotlight, Ariana is finally allowing herself to grow out of the cold, unfeeling pavement women in the industry are buried in and blossom into an artist uninformed by the voices around her. Rating: A- I love it when a Pop Girl goes indie
