Katy Perry, Smile | Album Review 💿

After disappointing with Witness in 2017, Smile definitely marks an improvement for Grammy-nominated pop superstar Katy Perry.

It’s tough to make a comeback following a flop. Katy Perry definitely had a flop on her hands with Witness, which just wasn’t the right album for her.  Witness fell short both critically and commercially – a double whammy for such a successful pop artist.  Even leading up her fifth pop album, Smile, things looked hairy for Perry.  Thankfully, Smile keeps things on the short side, and has its fair share of worthwhile moments.  It’s no tour de force, but there are songs worth spinning more than once.

“Never Really Over” 

✓ “Never Really Over” commences Smile sleekly with bright synths, pummeling drums, and an optimistic sound.  Zedd and Dreamlab get the credit for a superb backdrop. A bright record set in a major key, Katy Perry reminisces back on exes.  On the pre-chorus she sings, “I tell myself, tell myself, tell myself, ‘Draw the line’ / And I do, I do / But once in a while, I trip up, and I cross the line / And I think of you.” Fittingly, the incredibly catch chorus finds her providing context to the song title – the relationship may be over, but you always remember it (“Thought it was done, but I / Guess it’s never really over”). It doesn’t end there, as the pre-chorus further analyzes the situation, while on the second verse, she attempts to “rewire this brain” with no success.  Hey, it’s “Never Really Over.”

Perry follows up the superb opener with another winner, ✓ “Cry About It Later.” Here, she’s going to hold off on the tears – until later! On this sleekly produced electro-pop joint, she’s going to indulge in her fair share of fun: drinks, partying, and of course sex.  Obviously, there’ll be repercussions, but she’s like ‘F it,’ “Tonight I’m havin’ fun.”  Of course, then come those “Teary Eyes.”  Even though she’s experiencing sadness and pain, she advises all in the same boat, “Just keep on dancin’ with those teary eyes / Promise one day, baby, they’re gonna dry.” She’s right, of course.  “Teary Eyes” doesn’t reinvent Perry, let alone the wheel, but it’s energetic and overall, respectable.   

“Daisies” 

Standout ✓ “Daisies” features great production work by The Monsters & Strangerz.  While the backdrop is predominately electronic, it also incorporates acoustic rhythmic guitar. The best instrumental moments overall occur on the chorus, also, the crowning achievement of “Daisies.” In addition to production by one of pop music’s production elites, “Daisies” features songwriting by Jon Bellion. With a solid backdrop supporting her, Perry delivers a successful performance.  The record commences with a certain degree of poise on the brief but thoughtful first verse. Even if she doesn’t ‘dig right in,’ “Daisies” builds up to a truly dynamic level, which comes to head via the chorus.  There, we get assertive, powerhouse vocals.

“They said I'm going nowhere, tried to count me out
Took those sticks and stones, showed ‘em I could build a house
They tell me that I’m crazy, but I'll never let ‘em change me
‘Til they cover me in daisies, daisies, daisies.”

The synth pizzicato strings on “Resilient” is an instant selling point regarding the production, and the record overall.  The song itself exemplifies modern pop with all its sheen, but that’s not the big takeaway.  Like so many of the songs from Smile, the big takeaway is the maturity of Perry, who is far more empowering than she’s been in the past.  Furthermore, I appreciate the energy she brings vocally.  Similarly, “Not the End of the World” continues to exhibit compelling production work – synths, banging, trap-oriented drum programming, and vocal effects.  Besides the very ‘now’ sound, we also get an interpolation of “Na Na Hey Hey Kiss Him Goodbye” (Steam) that works seamlessly within the backdrop and songwriting. Overall, Smile lacks the Perry has spoiled us with in the past, but “Not the End of the World” packs a bit of a punch for sure.

“Smile” 

✓ “Smile”, the title track from Smile, is arguably the best single that Katy Perry has released in years; it’s potent instantly.  Sampling old-school hip-hop – Naughty by Nature, “Jamboree” – the production is clearly a pro. Beyond the sunny, soulful pop sound, Perry is exuberant and upbeat, matching the vibes of the music.  Essentially, she sounds reinvigorated and ready to reclaim her place among the pop elite. The chorus is the centerpiece, and smartly, that centerpiece appears at the top to hook the listener:

“Yeah, I’m thankful
Scratch that, baby, I’m grateful
Gotta say it’s really been a while
But now I got back that smile.”

On the verses and pre-chorus, she reflects on where she’s been, and how she managed to come up – bounce back. “But every tear has been a lesson,” she sings, continuing, “Rejection can be God’s protection / Long hard road to get that redemption / but no shortcuts to a blessin’.”  “Smile” is just what the doctor ordered for Perry and pretty sweet ear candy for the pop lovers of the world.

✓ “Champagne Problems” has the arduous task of following up “Smile,” the crowning achievement of Smile.  The good news is that keeps Smile groovy, upbeat, and sleek AF in the production department.  Although it is set in a minor key, Perry’s ‘champagne problems’ are actually pretty enjoyable on the ears, particularly the strings and of course, the catchy chorus. Groove, production, and tempo continues to bode in Perry’s favor on “Tucked,” another moderately enjoyable number.  I wouldn’t characterize it as a must-hear or the top of the Perry catalogue, but it works.  

“Harleys in Hawaii”

“You and I, I / Ridin’ Harleys in Hawaii-i-i / I’m on the back, I’m holdin’ tight, I / Want you to take me for a ride, ride.” “Harleys in Hawaii” received my disapproval back 2019.  The modus operandi seemed to be, at the time, to give Perry a record with enough swagger to propel her back atop the charts.  The gimmicky, repetitive chorus is a perfect example, with its flirty, carefree sentiment.  The problem, back then and even now, is that “Harleys in Hawaii” never ascends to that next, game changing level.  I’d argue that it’s not atrocious, even given my past criticism, but it’s also not tops on this album or her discography. On most editions of Smile, “Only Love” serves as the penultimate record.  This is a record that has its heart and the right place if nothing else.  The gospel sensibilities (without actually being gospel, of course) are a selling, as well as Perry’s passionate vocals.  Still, with its pros, it doesn’t earn a spot among the most elite numbers.

“What Makes a Woman” is a fitting closer that is respectable through and through. I admire the fact that Katy Perry opts for empowerment and exploring subjects that are relevant to everyday people.  There is nothing outlandish or odd about “What Makes a Woman” – it’s very much down to earth.  The most surprising thing is the f-bomb in the second verse, for emphasis (“I feel most beautiful / Doing what the fuck I want”). Overall, aside from the expletive, she exemplifies maturity, particularly as a woman in her mid-30s. Her point is crystal clear on the chorus; you can’t describe a woman as just one thing or women as one and the same. The main rub with “What Makes a Woman” is that other than the f-bomb, it lacks punch.

Final Thoughts 

First things first.  Smile is definitely a better, more well-rounded album than Witness, period.  There are some noteworthy songs on here and, the album is just the right length.  I will say, I was a bit disappointed to see “Never Worn White” miss the cut.  I am thankful “Small Talk” was omitted – did nothing for her. I’d characterize Smile as a moderately successful Katy Perry album.  There are no superstar hits, and I’m not certainly how you leave the album ready to re-listen over and over, but, it’s respectable by all means.

✓ Gems: “Never Really Over,” “Cry About It Later,” “Daisies,” “Smile” & “Champagne Problems”

Katy Perry • Smile • Capitol • Release: 8.28.20

Photo Credit: Capitol