An Add-Shot of Pop: Sabrina Carpenter’s “Espresso”
Breathy and a bit bratty, in the best possible way, Sabrina Carpenter’s breakout hit, “Espresso” is easily a song-of-the-summer contender. As the track awakens, it’s cool and quiet, just the sound of shimmery synth keys, handclaps, and a deep bass line in the background can be heard. But it’s quick to rise and shine into a caffeinated eight-line chorus (repeated four times in less than three minutes) that proudly boasts the effect one can have on a partner, specifically the prowess of delivering a shot of love so strong, it’s enough to instill a bout of insomnia (“Say you can’t sleep, baby, I know/That’s that me, espresso”).
And while this hook and most of the lyrical content, for that matter, are far from grammatically correct (“Walked in and dream came trued it for ya”; “One touch and I brand newed it for ya”), certain liberties are allowed when crafting a smart, sugary pop song, the kind of sonic addiction that gets into a listener’s veins and brain, and won’t let go. Is it that sweet? I know so.
“Flowers” Power: Miley’s Message of Self-Sufficiency
The new year is blossoming beautifully for Miley Cyrus, as the debut single, “Flowers,” from her upcoming album, Endless Summer Vacation, reached the number 1 spot on the Billboard Hot 100 in late January. The track, co-written by Cyrus, Gregory Aldae Hein and Michael Pollack features references to Cyrus’ former marriage to the actor, Liam Hemsworth. In the first verse, “Built a home, and watched it burn” relates to the couple losing their Malibu house in the 2018 Woolsey Fire. But most notably, “Flowers” serves as a response to Hemsworth allegedly dedicating the Bruno Mars regret-filled ballad, “When I Was Your Man” to Cyrus. She offers a form of lyrical rebuttal in the following ways:
Mars’ chorus: “That I should have bought you flowers.”
Cyrus’ chorus: “I can buy myself flowers.”
Mars: “And held your hand.”
Cyrus: “And I can hold my own hand.”
Mars: “Should have gave you all my hours.”
Cyrus: “Talk to myself for hours.”
Mars: “Take you to every party ‘cause all you wanted to do was dance.”
Cyrus: “I can take myself dancing.”
From a production standpoint, Kid Harpoon and Tyler Johnson keep the verses quiet, gloomy, almost wilted, all constructed to make the cloud-free chorus flourish with confidence. Harpoon’s prominent disco-funk bass line lends smooth, soulful sass, the kind that inspires strutting down a hallway before erupting in euphoric abandon, as displayed by Cyrus in the accompanying Jacob Bixenman-directed music video. (The video is reminiscent of Francis Lawrence’s “Cry Me a River” for Justin Timberlake, who, like Cyrus, is shown breaking into the home of a former, and allegedly unfaithful, lover.)
With the New Year a little over a month in, and Valentine’s Day ahead, Cyrus’ “Flowers” could not have been released at a better time. (Likely its January 13 launch date was to coincide with Hemsworth’s birthday.) Two of the possible reasons the track has resonated with so many: Resolutions for better self-care are (hopefully) still in practice, with the song serving as an extra push to stay resilient; singles get an added reminder to tend to—and cultivate—self-sufficiency. “Flowers” is the musical equivalent of a dozen red roses.
Columbia Records. Album-Cover Photography by Brianna Capozzi.
Dancing With Myself: Aquaria Heads Out Alone in The Knocks’ Video for “Slow Song”
The electronic-music duo, The Knocks, consisting of Ben “B-Roc” Ruttner and James “JPatt” Patterson, released the sound of summer, in spring 2022. “Slow Song,” featuring Martina “Dragonette” Sorbara on vocals, is shimmery, “bassy” synthpop with a melody line in the chorus that’s so sunny it ironically brings the chills (the good kind).
If the song itself isn’t shimmery enough, the Austin Peters-directed music video delivers the (lip) glossy glam, thanks to “Rupaul’s Drag Race” season 10 winner, Aquaria. Stuck in a dead-end job in the dead of night, Aquaria’s character closes up shop at the farmacia, and retreats to a nearly deserted dancehall to spiritually recharge, with music and movement the metaphorical sources of energy.
After sitting solo at a table, the stunning performer stands up, and sashays out to the dance floor, for what could be considered a Flashdance-finale moment.*
During the song’s bridge, the video cuts to footage of a strobe-light-bathed Aquaria suddenly surrounded by other dancing patrons. It seems unlikely the empty club had an influx of nightclubbers, leading to the theory that this could all be in Aquaria’s head, perhaps a dream of life before COVID closed the clubs, before socializing was replaced by social distancing. The video then quickly cuts to Aquaria adamantly exiting the dancehall, a few patrons can be seen off to the sides, but it becomes more about Aquaria’s ownership of a night out alone, reminding us that sometimes you just have to break free, even if it’s—especially nowadays—by yourself.
*Flashdance, directed by Adrian Lyne. Paramount Pictures, 1983.
Kylie Minogue Shares Golden Moments
Kylie Minogue’s Golden Tour is full of golden moments indeed, like the opening reveal. “Don’t you feel that sun on your face?”:
There’s also an homage to disco and Studio 54, featuring a medley of her songs, including “New York City,” which Kylie couldn’t find a home for on Golden, and this version of “The Loco-Motion,” which samples a recognizable lyric from Donna Summer’s “Bad Girls.”