Ariana Grande, Sweetener | Album Review 💿

Following a two-year hiatus, Ariana Grande makes her highly-anticipated return with her fourth studio album, Sweetener.

‘Adventurous’ seems like an accurate and appropriate characterization of Ariana Grande in 2018.  Returning with her highly-anticipated fourth studio album, Sweetener, all early indication suggests a daring effort from the 25-year old Grammy nominee.  That’s true to some extent, but mostly, Sweetener finds Grande amplifying the hip-hop and R&B.  There are plenty of worthwhile moments throughout the course of the album, even if it’s not a flawless effort per se.

“Blazed”

A cappella intro “Raindrops (An Angel Cried)” sets the tone for Sweetener.  Merely 40 seconds long, “Raindrops” is the type of interlude/intro that you desired to be a full-length song. “Blazed” featuring Pharrell Williams serves as the first full-length number, opting for a busy groove and spryer tempo.  In addition to providing vocals, Williams also produces, obvious by the record’s ‘other-worldly’ qualities.  While this is distinctly Pharrell, he doesn’t get ‘too far out,’ and the results are effective. Grande doesn’t show off the usual upper register vocal aerobics, but she still sounds great.

I won’t lie, when “The Light is Coming” first arrived as a single, I wasn’t feeling it whatsoever.  In the context of Sweetener, it’s one of many Pharrell Williams productions, and incredibly quirky. Give “The Light is Coming” credit for its ultra-futuristic style, and being distinctive compared to everything else that’s out there.  Ariana Grande also deserves credit for trying something different.  Still, the reciprocal feature with Nicki Minaj (see “Bed” on Queen) is a wee bit of a stretch, lacking enough traditional songwriting to engage many listeners.  Hearing it in the context of Sweetener, it is more interesting if nothing else.

“God is a Woman”

If “The Light is Coming” was too off-putting, the ‘Pharrell-ian’ ✓ “R.E.M” feels more accessible, with its laid-back beat, and low-key, sexy vocals from Grande.  Once again, she isn’t attempting incredibly rangy vocals, but focusing more on her middle register.  Definitely sexy, on the third verse, Grande asserts, “You know how to treat it, you know how to eat it / You know how to beat it.” Arguably, Ari makes her boldest statement yet, one that God himself might question – ✓ “God is a Woman”.  Naturally, the urban-pop record isn’t about spiritual matters, unless you consider sex to be spiritual.  At the beginning, she establishes a sensual theme on the chorus.

“You, you love it how I move you
You love it how I though you
My one, when all is said and done
You’ll believe God is a woman
And I, I feel it after midnight
A feeling that you can’t fight
My one, it lingers when we’re done
You’ll believe God is a woman.”

Wow! She’s so good in bed that after making sweet love with her, you’ll believe that “God is a woman…” – something like that.  There’s more sacrilege on the verses, including “Baby, lay me down and let’s pray” on the first, and “And boy, if you confess, you might get blessed.” Woo Ari, you’re bad girl! The best moment of this soaring, slickly-produced urban-pop ballad comes during the outro.  Here, Grande delivers her best vocals, ascending to that next level. While the most devout, pious Christians may take offense to the ‘blasphemy’, those open-minded and devout fans of Grande will definitely be in heaven.

“Sweetener”

“I like the way you lick the bowl.” Oh my… Pharrell is back on the boards on naughty title track, ✓  “Sweetener.” Like the majority of Sweetener, Ariana Grande embraces the hip-hop and urban contemporary realms.  While “Sweetener” places more emphasis on sexy than high-flying, virtuosic pipes, it’s pretty chill, ‘sweet’ ear candy. “Successful” keeps things groovy, slightly left of center, and most of all, sexy.  One of the selling points – among the successes – is the playfulness of Grande’s vocals.  It sacrifices a bit of a traditional sound compared to some of the ‘sweeter’ songs on Sweetener.

With so much Pharrell Williams on Sweetener (“God is a Woman” the early exception), a production personnel change arrives in the nick of time on “Everytime.”  The sound of the record is urban-pop – still idiomatic of hip-hop.  It’s pleasant, features some high notes, but doesn’t quite ascend to the next level. Ilya, who produced “God is a Woman” and co-produced “Everytime,” handles the production on the smooth, groovy “Breathin.” Like “Everytime,” it’s pleasant, but there’s still anticipation for that next gear that never quite materializes.  Still, worthwhile pop music.

“No Tears Left to Cry”

✓  “No Tears Left to Cry” marked the first new Ariana Grande single since the Manchester terror attack. Beginning moderately slowly, following the dramatic, lush, and smoothly sung intro (the eventual chorus), a danceable groove transforms this highlight. Grande shows exuberance, singing playfully in her lower register on the verses.  She gradually ascends, hitting her stride – her commanding upper register – on the chorus.  The chorus is catchy, though what truly stands out about it is how uplifting it is.

“Right now, I’m in a state of mind
I wanna be in, like, all the time
Ain’t got no tears left to cry
So, I’m pickin’ it up, pickin’ it up
I’m lovin’, I’m livin’, I’m pickin’ it up
Oh, I just want you to come with me
We on another mentality
Ain’t got no tears left to cry
So, I’m pickin’ it up, pickin’ it up
I’m lovin’, I’m livin’, I’m pickin’ it up.”

Pharrell returns once more on “Borderline.” That said, the bigger news is that Missy Elliott is featured – how awesome is that?  It may sound like a broken record, but the beat – sick.  There’s no way you listen to the chill “Borderline” and don’t nod your head or tap your foot.  And if I didn’t previously mention it, Missy Elliott is featured… Just sayin’. Sadly, we don’t get enough of the iconic female rapper.

“Better Off” 

Ballad “Better Off” would be at home on any modern R&B album.  The proof? “Let’s put them topics to bed and go f*ck on the roof, just to say that we did it.” Well, it comes down to more than sex – it’s the entire vibe. “Goodnight N Go” is more of a ‘rhythmic ballad,’ incorporating some electronic cues.  It’s a fine balance between pop, R&B, electronic.  She keeps it short and sweet about her man on “Pete Davidson,” before closing out Sweetener with one final, fantastic Pharrell Williams produced joint, ✓ “Get Well Soon.” “Get Well Soon” shines thanks to its mix of contemporary gospel and R&B cues, led by the brilliant use of piano.

Final Thoughts

All in all, there’s plenty of deliciousness throughout the course of Sweetener.  Ariana Grande doesn’t aim for the highest of notes as she has in the past, but she continues to shine as one of music’s most elite vocalists.  Again, this isn’t a perfect album, but there are more than enough worthwhile moments. 

✓ Gems: “R.E.M,” “God is a Woman,” “Sweetener,” “No Tears Left to Cry” & “Get Well Soon”  

Ariana Grande • Sweetener • Republic • Release: 8.17.18

Photo Credit: Republic