Remember that Britney x Madonna song ‘Me Against the Music’? It’s always been a bit shit, but I do like Brit’s quasi-rap before the chorus. Across her debut album Expectations, Hayley Kiyoko’s pop instincts rarely falter, yet a stab at the Princess of Pop’s breakneck delivery on ‘Curious’ could be her ballsiest move so far…
‘Did you take him to the pier in Santa Monica? /
Forget to bring a jacket / Wrap up in him / Cause you wanted to?’
(In pop music terms, this is a soliloquy. Hayley fires it out in five seconds flat.)
Jacking the beat from Fifth Harmony’s ‘Work From Home’, the single clicks and thumps in all the right places, even as the lyrics coyly confront a girlfriend over her heterosexual affair. The ‘If you let him touch ya…’ hook is niftily copied-and-pasted-and-pasted, allowing Hayley to vent her frustration, while maintaining her composure.
The 26-year-old singer and actress represents a post-Tumblr wave of young queer voices in pop. The fearlessness with which she’s presenting her sexuality is pioneering in itself. The album’s artwork finds her candidly revering the female form, and in her music, the corresponding pronouns come thick and fast.
‘Sleepover’ will be painfully familiar to any gay who’s crushed on a straight friend. Over a tender groove, Hayley’s fresh-as-morning-dew voice cries out for intimacy, and yes, for great expectations not met. ‘He’ll Never Love You’ is an intervention for a girlfriend in denial of her true identity, elevated by an impatient vocal.
The synth-pop production is largely dreamy and fluorescent, acting as bubble wrapping for Hayley’s vulnerable songwriting. This duality is no more apparent than on a daring pair of mini-epics that dominate the middle section.
Both are emotionally complex and serpentine in structure, but the album’s heart pumps hardest on ‘Mercy/Gatekeeper’. Segueing from pulsating dance to a rockier verse straight from Sky Ferreira’s hard drive, Hayley traces the root(s) of her depression: ‘I can tell you don’t get it / ‘Cause you tell me everything will be okay’. A portentous monologue about autonomy follows, and the epiphany is rewarded with a swirl of sumptuous synths and Haim-esque harmonies, for a cathartic finish.
Expectations is a mellow and atmospheric listen, but the laborious path to self-acceptance bears juicy fruit. The Kehlani-featuring ‘What I Need’ is sexy and of-the-moment, and deserves to be a minor hit. The funk-reliant ‘Palm Dreams’, meanwhile, soundtracks an impossibly cool party, a sequinned declaration that queer life really does get better.
9 / 10