For millennials, the past two years have been a crash course in uncertainty. Will the EU crumble? Should we ready our outfits for #nuclearholocaust? Go vox popping and you’ll find there’s only one thing the youth know for sure: Harry Styles will be a superstar.
Flanked by millions of fans and fêted by the media, Styles’ success is a rare inevitability. The One Direction heartthrob could afford to tear up the rulebook, but debut single “Sign of the Times” doesn’t even dog-ear a page for fear of creasing a holy text.
‘Sources’ were keen to cite David Bowie’s influence, apparent in the sense that he too had a Y chromosome and was known to sing over piano. At best, the song recalls Robbie Williams’ chest-puffing balladry – at worst, it’s a shaky six-minute pose.
Styles’ falsetto cuts through the neutered guitars and crashing drums, but strains to add meaning. Only a truly privileged artist can scream “We’ve got to get away!” while digging their heels into the safest sound imaginable. Now that’s a sign of the times.
Zara Larsson and Rihanna share more than a cadence that’s catnip for radio.
Just like the Barbadian superstar circa 2006, Larsson holds immense promise, yet her international debut is at best a benign vessel for a half-dozen plastic-wrapped hits.
Last summer’s “Lush Life” is still a sticky party-starter with more choruses than sense. It’s also the best thing on So Good by far, and prefacing it with the feeble “What They Say”, a #motivational Instagram post set to music, is a telling cop-out.
A flexible singer, Larsson slings hooks like a sailor aboard everything from moody electro (MNEK duet “Never Forget You”), to schoolyard hip hop (“Ain’t My Fault”), to vogueing dance-pop (“I Would Like”). Aside from some killer singles, only “TG4M”’s dreamy tropical lilt really adds to her CV.
There’s never been a bigger gulf between title and song than on “Make That Money Girl”. That sassy name, along with the teenager’s unabashed feminism, suggests a banger for the ages, but its funereal beat is more befitting a documentary about sweatshop slavery.
Larsson has everything it takes to go A-list, but too often, So Good overlooks the spunky musicality that put her on the map. Drippy ballads like “Only You” and “One Mississippi” actively drain her charisma, and could be fronted by any Rihanna-lite ingenue.
Thank goodness then for Clean Bandit’s “Symphony” – a feel-good smash and vocal showcase that’s bought Team Larsson time to plan a crucial next move.
Grab some tissues and watch Clean Bandit’s self-directed “Symphony” clip below.