Pop superstar Katy Perry struggles to find her footing on her fifth studio album, âWitness.â Sometimes it works, while other times it doesnât.
Afour-year hiatus in pop music is like an eternity. Honestly, it seems as if Katy Perry has been off the grid forever. She returns with her fifth studio album, Witness, and the results areâŠmixed at best. The promo campaign for Witness has by far been the most difficult one for the pop superstar, who typically has hits at her disposal. Unfortunately, a no. 1 single has eluded her from Witness as simply put, the singles arenât nearly as accomplished as previous ones. Neither is the album itself.
âWitnessâ
âWitnessâ kicks off the album, opening the door for skepticism from the jump. Essentially, Katy Perry sings about the desire for love â a clichĂ©, but relatable topic. The problem is, âWitnessâ doesnât come off as particularly memorable. This is a record with hard shoes to fill, following âRoar,â the hard-hitting opener from Prism. Itâs okay, but not game changing or transcendent.
Follow up âHey Hey Heyâ features a brief musical introduction, but feels as if it arrives abruptly. This ultimately detracts from the recordâs effectiveness because it doesnât feel as if Perry properly preps the listeners for the song. After listening to âHey Hey Heyâ multiple times, it still never feels as if the beginning of the record is stable or that it feels properly assembled ultimately.
â âRouletteâ is a step up from both âWitnessâ and âHey Hey Hey.â The slick, danceable production work is a pro â the groove is undeniably infectious. Furthermore, the chorus latches on better than the two that precede.
âLike roulette, ooh-ooh Wanna close my eyes and roll it with you Like roulette, ooh-ooh Wanna lose control and forget with you Like roulette Letâs roll it.â
Even with Perry âplaying the gameâ does she score the win here? Not quite, but thereâs more potential for âRouletteâ compared to many of the songs from Witness.
âSwish Swishâ
â âSwish Swishâ ranks as one of the better moments from Witness, at least contextually speaking. Arguably, the record has its fair share of flaws: anachronistic production, so-so vocals, and trying too hard to find another no. 1 hit. Still, Nicki Minaj adds bite with her rap verse. As for Perry, she offers an irresistible hook that straight-up flexes in all its corny glory:
âSwish, swish, bish Another one in the basket Canât touch this Another one in the casket.â
Numerous times, the word dĂ©jĂ vu has served the capacity of song title. Once more, Katy Perry resurrects a clichĂ© with her own âDĂ©jĂ vu.â Ultimately, itâs a pleasant track, but certainly doesnât change the game. It features a throwback dance/house sound which in some respect suits the dĂ©jĂ vu sentiment, but stills suffers from the fact that Witness lacks some of the originality of previous projects.
â âPowerâ is one of the better non-buzz records from Witness. Vocally, Perry delivers a better-rounded vocal compared to say âSwish Swishâ which doesnât show off her abilities. That isnât to say that sheâs a powerhouse on âPower,â but thereâs a bit more opportunity. To her credit, the theme of emPOWERment adds more weight, exemplified on the chorus.
âYou canât clip my wings, canât wilt my flowers Stole my time, but Iâll make up the hours âCause Iâm a goddess and you know it Some respect, you better show it Iâm done with you siphoning my power.â
âChained to the Rhythmâ
âMind Mazeâ doesnât maintain the momentum established by âPower.â That isnât to say Perry doesnât have energy, but somewhere between a load of vocal effects, over-glossed production, and blasĂ© lyrics, the record lacks appeal and memorability. âMiss You Moreâ is more interesting because of speculation who the pop star is singing about. On the chorus of the ballad, she asserts: âI miss you more than I loved you / I do.â Lyrically, like most of Witness, itâs not deep, but telling.
Like âSwish Swish,ââ âChained to the Rhythmâ ranks among the elite moments from Witness. While there was a fair share of skeptics in regards to the promo single, in my humble opinion, this is the crĂšme de la crĂšme. The groove is infectious, while the production successfully blends urban- and tropical-pop. Lyrically, this song is catchy and thought-provoking; the verses are socially and politically relevant. Skip Marley only plays a small role, never overshadowing Perry. The chorus truly puts âChained to the Rhythmâ over the top:
âTurn it up, itâs your favorite song Dance, dance, dance to the distortion Come on, turn it up, keep it on repeat Stumbling around like a wasted zombie Yeah, we think weâre free Drink, this one is on me Weâre all chained to the rhythm To the rhythm, to The rhythm.â
Naturally (or predictably), âTsunamiâ incorporates related terms:
âPlease donât tip-toe Come close, letâs flow Anchor in me, and get lost at sea The worldâs your oyster and I am the pearl...â
The results are meh. Despite the âcareâ that the lyricists take, âTsunamiâ misses the mark.
âBon AppĂ©titâ
Itâs easy to see what Katy Perry wanted to accomplish with â âBon AppĂ©titâ. Again, in the context of Witness, this is a standout. But, thereâs also a reason why the single and a wasted opportunity with Migos earned a spot on The 11 Worst Songs of 2017 (So Far). Here, it was stated that:
The results were just blasĂ© at best, making âBon AppĂ©titâ utterly forgettable. Rather than sounding cutting edge, for once in her career, Perry sounds as if sheâs ran out of ideas.
All said and done, this is a take it or leave it sort of track. Too bad there are way too many leave-it tracks on Witness. Follow-up âBigger Than Meâ for example may have big ambitions, but they fail to come to fruition. Rather than being transcendent, âBigger Than Meâ is filler to the nth degree.
The rest of Witness doesnât change the outlook dramatically either. âSave as Draftâ is cleverly titled but fails to live to the hype. Itâs not surprising itâs mixed at best â Perry is so-so when it comes to balladry. âPendulumâ follows with promise, thanks to *ding-ding-ding* a sick beat. Good intentions only go so far, hence why âPendulumâ is close to be sound, but just not quite there. Itâs bombastic and energetic â also all over the place. Like Prism (âBy the Grace of Godâ), Witness concludes with a ballad, âInto Me You See.â The biggest offense? Itâs boring.
Final Thoughts
All said and done, Witness is by far the most flawed effort Katy Perry has offered. Despite the robust amount of filler, the biggest issue with Witness is its lack of hits. Despite the criticism that the three singles received ahead of the album, they stand out contextually. Non-singles that rank a ânotch above the restâ donât feel like hit-singles. This leaves Perry in a position of âdamned if you do, damned if you donât.â The direction of Witness also opens the door to skepticism. Sometimes it works, sometimes it doesnât.
â Gems: âSwish Swish,â âRoulette,â âPower,â âChained to the Rhythmâ & âBon AppĂ©titâ
Katy Perry âą Witness âą Capitol âą Release: 6.9.17
Photo Credit: Capitol