​Album Review.
Likes: Sober, Camouflage, Perfect
Overall: Great writing; lyrics and vocals get drowned out by annoying, standard club beats
 
At this juncture in her musical pursuits, Selena Gomez is trying to set a scene of transformation. Loosening her last tie to Disney, she's moved on from Hollywood Records to Interscope/Polydor. The cover art for her freshman project with her new label is black and white, as she sits nude with no other surroundings, proclaiming a Revival. By the sound of it though, she's still in need of one. Many of the lyrics (mostly co-penned by Gomez, Julia Michaels, Justin Tranter and Rock Mafia production duo Antonia Armato and Tim James) depict an exasperated prisoner of despondency versus a revitalized being; especially on the subject of relationships (ex. Perfect). Even when sex is undertaken, there's this sense of detachment and heartache; rather than a meaningful or enjoyable activity, it's a tool or an emotional band-aid (ex. "Hands to Myself," "Me and the Rhythm"). Gomez's sexual allusions are just that, but their number and nature (which include intimations to masturbation, multiple orgasms and skilled performance) make you want to roll your eyes. The "too much at one time-ness" reeks of her trying to substantiate how much of a "big-girl" she is. She almost wrecked a perfectly good ballad (i.e. "Camouflage") with her superfluous and pedestrian use of "shit" (also on "Same Old Love") just to do that. It was like bringing beer to a state dinner. Taking that out of the equation, there was a concerted effort in the lyrics with metaphors and analogies that one could respect. Vocally, Gomez tries to stretch herself a little (ex. "Hands"), but can't surmount her marginality in this area. That kind of voice over slightly-above-average club beats (producers include Hit Boy, Dreamlab and Benny Blanco) and you've got yourself Forever 21 and XPRESS clothing store music. You know, the "chic" stuff they play overhead while you shop that's designed to keep things from being quiet, as opposed to entertain you? You know, the stuff where vocals are just a supporting effect and not the focal point? It's a shame the album's like that because, again, the writing's good (I enjoyed her thinly veiled, diplomatic dispatch to the media on "Kill 'Em with Kindness") and Gomez's Eeyore-like glumness is curiously intriguing. Before Selena decided to stick a flag in the ground, she should've made sure she wasn't taking a back seat to her own coming out party. 

Album Review.
Likes: The Great Forever, Shoulda' Known Better, Night, Gon' B Alright
Dislikes: Burn It Up!
Overall: Back to the strong suit of lyrical social consciousness; musically, it lost my attention
 
11 years ago, Janet Jackson endured a ridiculous backlash and blacklisting after her breast was accidentally shown during her Superbowl halftime performance. The incident nearly, if not actually, ruined her current album, Damita Jo's, chances of getting the acknowledgement it deserved. Over the next 4 years, Jackson would break from her artistic formula of working principally with Jimmy Jam and Terry Lewis and release 2 records (2006's 20 Y.O. and 2008's Discipline) her fans would find unflatteringly aberrant and insipid. She also left Virgin Records after 13 years for Island, only for the relationship to dissolve in 14 months. For the first time, Jackson was a free agent. In 2009, she suddenly lost her brother, Michael, and her long-time courtship with producer Jermaine Dupri ended. Rumblings of new material eventually quieted and 6 years went by. Some worried that this string of events either indicated or led to a vanishing of Jackson's musical interest or inspiration, and they wondered when they would hear from her again. This past spring, word of a project and tour finally came, and the Unbreakable era began. What would she say or address? What would the music sound like?
 
Jackson went *Christina Aguilera voice* back to basics, reuniting with Jam and Lewis (with some additional production by Dem Jointz and Tommy McClendon) and trading in what became an expected staple (i.e. throbbing sexuality, no pun intended) for the old one, focusing mainly on social justice and the human spirit. "The Great Forever" arguably has a double meaning, with implicative lines about her nuptials to Qatari entrepreneur Wissam Al Mana getting press and the fight for marriage equality. On "Shoulda' Known Better," she sings with disillusionment about how societal strife overwhelmingly remains, despite all the efforts to combat it and how reform now seems like an idealistic dream of her youth: "I had this great epiphany, and rhythm nation was the dream...I guess I shoulda' known better." This disheartened rumination is expressed over a pulsating, conversely uplifting cadence and a still hopeful, alternative take on her key phrase: "Awakening a better choice, it only starts if you lift your voice and say 'I shoulda known better, and so, next time I'll know better.'" This song had me in my feelings; so many times, I've been an emotional blur of frustration and sadness over the perils of the world, thinking "It's useless to care. It's useless to fight. Nothing's going to change." On "Black Eagle," Jackson challenges us to learn more about each other's respective struggles and increase our compassion, if for no other reason than we might need someone to be empathetic towards us one day. It's smooth, mellow and she's cooing softly, but we're getting lyrically chastised and sent to the principal's office. The contrast is almost funny. "Promise of You" encourages us to rise to our occasion, both as individuals and citizens.

Album Review.
Favorites: Catfish, Circles, Must Be Good To You, King
Dislikes: S.O.N.
Overall: A nice upgrade from Love & War; less silly, more vocal display and more memorable
 
Tamar Braxton has been saying for months that her newest LP, Calling All Lovers, would be much better than the breakthrough Love & War. Fans like myself, who found War to be a sleepy disappointment that didn't demonstrate her vocal ability, will be relieved to know she wasn't posturing. I say all the time that artists should analyze and identify the strengths and weaknesses of their previous works to ensure improvement every album, and it sounds like Braxton did that. War tried to rebound from and cover up hum-drum, routine R&B, Keyshia Cole echoes (although adequately written) with what I call "toy songs;" deliberately silly tracks for you to booty-pop to that are supposed to be "fun." Not only are hum-drum and silly not a great complimentary combination, but the" toys" were so fisher-price plastic and of a lower-quality than normal, they couldn't be taken seriously even as a mere club or novelty joint (I liked "Hot Sugar," but again, the novelty wore off at a shocking speed). Lovers has almost no up-tempos, and yet, it's more engaging than its predecessor. The songs have more character; for example, "Angels and Demons" is island-influenced, "Simple Things" and "Must Be Good to You" are old-school chic, and "Broken Record" and "Raise the Bar" are misty blue. Braxton herself seems more interested, flexing the vocal muscles we knew she had. The foolishness was cut down to 1 track and it was enough for the whole record. After the beautifully-written "King," comes "S.O.N.," which I assumed would double the beautiful and be a tribute to her toddler son, Logan. In actuality, S.O.N. was an acronym for "sex over nonsense." I might have forgiven the unfortunate reality and called it a humorously clever mislead if the rhythms weren't so basic and the lyrics and rhymes so elementary and Dr. Seuss: "Stop acting like you got the power while I'm in the shower...boy, stop frontin' and let's make this movie starring this booty."
 
While I'm on the subject of "S.O.N." and Braxton's actual one, where is the motherhood material? Sentiments of the heart is something she does well as a songwriter, so I would love to hear her exploration of that experience. The gorgeous "Free Fallin" needed to be 2 minutes longer; 3 wasn't enough. From what I read on Twitter, few people liked "Catfish" and I don't see why not. Yes, there are 1 too many SWV "Human Nature" samples in the world, social media references in popular music are cheesy and set songs up to sound dated later on, and Tamar didn't describe an internet catfish correctly, but it "must be good to me;" I've had it on repeat.

​In summation, Braxton delivered with Calling All Lovers. The lyrics work, the tracks stick better and she is "SANGIN'!," as they say. It still takes the risk of being drowsy, but it's not a detrimental choice.

​Live in Nashville: Ascend Amphitheater
Show Date: September 27, 2015
Opening Act: N/A
 
I'm sure it seems ridiculous to do a concert review for Janet Jackson, who's known for live entertainment excellence, but nevertheless, it must be done; especially when certain trademarks were absent.
 
One of my favorite things about pop shows are the dramatic openings. Three sheer screens projected a band of wild crows (or ravens?) forming a large, single one, which eventually morphed into Jackson's silhouette and naturally caused hysteria. With the help of a digital Missy Elliott, Jackson stepped out to current song, "Burn it Up!" and proceeded to perform a rather epic opus of a hits medley, which included "Nasty" and "Miss You Much." The setlist was extremely well-ordered and inclusive; it astounded me how she was able to mash a 30-year career into 2 hours without there being any shortchanges, lulls, abrupt endings, forced or odd transitions. Even the new songs fit right in; there were no awkward "What is this??" moments. I'm personally offended that my favorite song, "You Want This" was a part of the medley and not performed in its entirety though, haha. An awesome surprise was the addition of "Scream;" the only song Jackson recorded with her late brother, Michael. "Get it Michael!" she shouted over his verse. When it came time for the iconic dance break, I was prepared to pass out. She didn't do it, but went into "Rhythm Nation," which totally worked. If you're curious as to whether the 49-year-old missed a beat or an 8-count, she didn't. Vocally, Jackson met expectations, with the best showcase being the ballads section, where there was more girth than many might anticipate.
 
Now, for those missing trademarks. Unbreakable Tour goers who have seen Jackson live before or any of her concert DVD's might notice a difference in stage production. There's usually a bold, consistent theme with elaborate, expensive-looking sets and visuals, and a bevy of cool costumes. The set pieces shined like obsidian rock, but were few and pretty simple overall (2 stair cases and a scaffold block for the band were primarily used). Though the video graphics and lights were neat, they didn't connect, have concept or emphasize the message of "unbreakable." We didn't see anything much in relation to that until the end, when the bird reappeared and was unfazed by arrows shot into it. Jackson left the stage a handful of times, but never changed attire. The dance-team's wardrobe was giving me Janet. era, while the background singers were giving Velvet Rope Tour. Given the paucity of a premise, I didn't know if that was an intentional homage or just another incoherency. For Nashville attendees, the production wasn't the only thing that was retrenched. Jackson's energy was subdued in comparison (not to be mistaken, she was in no way lazy or cavalier) and majority of the audience interaction was placed at the end. In shows past, she's a mix of hyper and intense, and addresses the crowd frequently. She's notorious for being hands-on in a very literal way, bringing guys onstage to be tied up and tantalized for her rated-R cuts. Not this time, fellas. I prefer to hear from an act throughout a concert, but when Jackson took time to speak, she gave heartfelt thanks for support given to her and her family, which was memorable. There weren't many unique band arrangements, but when a crucial part of your show is nostalgia and catering to long-term fans (as one should), it makes sense not to tamper with classics. No one wants to hear a hip-hop or rock version of "Again" or a jazzy rendition of "I Get Lonely."
 
There were no preliminary performers (which was great; I just want to get to who I paid for), so be sure to be on time. Jackson had a DJ play remixes of her songs to get people pumped up instead. Typically this is annoying, but it was actually a satisfying appetizer. Hardcore fans were doing choreography in the aisles and making friends with strangers that were just as excited as they were. Many came wearing flawlessly intact old tour gear and make-shift Janet-like outfits. The atmosphere was beautiful and giddy. While I was visiting the exhibit of Janet artifacts they had available (which is incredible and must-see), I was surprised with upgraded tickets to front row!! I still can't believe that happened and it's been more than a week. I have no idea what made them choose my friend and I, but I'm not asking any questions. I've never seen anyone of Janet's status before or been front row, so for both of those things to happen at the same time was mind-blowing to say the least. Pyrotechnics, smoke and lights are amazing from a distance; seeing it front row is an out-of-body experience and brings out your inner child. It's like "Wow, Mommy! Look!!" Hands-down one of the best moments of my life. Putting that aside and being objective, there might be some bells and whistles missing, but none of the upmost important ones. "Ms. Jackson if you're nasty" is incomparable and still lives up to her performance standard.