Is Zara ‘aving a Lar(sson)? Will you give Milky a Chance? Who is Cameron Avery? Are ADULT. mature? Do we kick The Shins?
Rita Ora failed as the surrogate Rihanna, clearing the path for Zara Larsson.
Many thought the Swedish singer’s global hit, Lush Life, was actually Rihanna and, well, it could have been.
That must have been the brief for Larsson’s second album— Rih-heated modern pop designed to sound like everything on the radio now.
That means the played-out trop house sound (the pop blueprint since Major Lazer’s Lean On two years ago) is rife.
I Would Like is recognisable enough to be an instant hit, and TG4M follows the modern rule of tweaked vocals in the chorus — this time chipmunk effects.
Ed Sheeran co-wrote
Don’t Let Me Be Yours but the novelty chorus hook of what sounds like a vuvuzela is at
odds with the (oddly familiar) minimal groove.
Larsson cuts out the middle man to work with Rihanna’s producers Stargate on Sundown which sounds like Rih-biza.
Fred Ball (who wrote Rihanna’s Love On the Brain) teams up with hitmaker Julia Michaels for the strong One Mississippi.
Only You is a welcome diversion; although its digi-reggae style, and Larsson’s diction, make it arguably the most Rihanna-like moment here, and that’s a tough call. Great powerhouse vocal on
the chorus too.
There’s also a very Rihanna style lyric on I Can’t Fall In Love Without You: “Don’t you think
I give a f— about who you f—, but I hope you can get it up.”
The best cut is the last – new single Symphony is a smart and timely collaboration with UK dance crew Clean Bandit. It’s a big club banger with zero trop house but with their trademark strings and hooks to burn. And that’s a great Rih-sult./CAMERON ADAMS
Sounds like: a one person So Fresh compilation.
In a word: now.
Time to buy, dear readers, so these artists can keep shifting units and making more art.
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