Kim Petras’ debut single “I Don’t Want It At All” was an electric, fun burst of sugary pop with 80’s inspired instrumentation and a compelling personality at the forefront. Her further singles continued the magic that “I Don’t Want It At All” started. On her debut album, Clarity, Petras lacks the charisma and instrumentals that her singles provided. Continue reading →
In 2009, if you had told me that I’d willing listen to a Jonas Brothers record in 2019, I’d probably say something that I’d be ashamed of in 2019. While it’s difficult for me to discuss what qualified as insanely popular and well-discussed pop music at that point in time, I can tell you that the Jonas Brothers were hits in the eighth and ninth grade circa 2007-2009. Their 2019 return as a mature pop act is an easy sell to nostalgic twenty-somethings and a chance for reassessment from pretentious Marilyn Manson fans. With Happiness Begins, the trio’s reinvention cements their credibility beyond teenie-boppers, but does little to set them apart from their new contemporaries. Continue reading →
When Meghan Trainor’s Title was released in 2015, it was occasionally a breath of fresh air. It subverted classic 60’s and 50’s pop by singing about modern ideas. It was very similar to Scott Bradlee’s Postmodern Jukebox. The bops were there. “All About that Bass” and “Lips are Movin'” were genuine hits, and most of the best moments on the album signaled the energy of those two songs. Whether it was the doo-wop of “Credit” or corny white-girl rap “Bang Dem Sticks,” there was something mystifying about Trainor,which the industry obviously sees since she’s appeared on a bunch of singing shows and the Grammys. What’s most puzzling about Trainor though is her appeal to (much) younger listeners, which her latest EP, The Love Train answers (sorta). Continue reading →
Releasing a follow up to one of the best pop albums of her career just shy of six months later was a bold choice, but we should’ve expected boldness from Ariana Grande immediately following the release of “thank u, next.” After calling off a wedding and the death of an ex-boyfriend, Grande’s thank u, next is a pop ode to self-reliance and resilience. This is both a chance for her to lay out her side of every story that’s been published about her, but it’s also a victory lap. It has moments of brilliance, but it mostly feels like a kiss off to all the media attention she’s been given and create her own narrative. Sometimes, a plot twist in your own narrative is what cements you as pop royalty. Continue reading →
To me, The Grammys are the Super Bowl. I always want to gamble on it. I usually know what’s going to happen. I’m glued to the TV for hours, and I get drunk while doing it. Unlike the Super Bowl though, the person who wins is either met with indifference or excitement, rarely anger. This year, BurgerADay are laying out the pics for who will win versus who should win. Check out our picks, and either way, just remember it’s much more important than the Patriots and Falcons. No one’s deflating these balls.
Album Of The Year:
25 — Adele
Lemonade — Beyoncé
Purpose — Justin Bieber
Views — Drake
A Sailor’s Guide To Earth — Sturgill Simpson
Should Win: Lemonade-Beyoncé
I may have been late to the party for a long time, but at the tail end of 2016, I listened to Lemonade, and it’s pretty damn great. Beyoncé is completely worthy of all the praise she’s gotten for this album. As most of the best albums of the year, Bey mixed the political with the personal, and the record can transition from an emotional gut-punch like on “Pray You Catch Me” or “Don’t Hurt Yourself” to a genuinely fun as hell hype song like “Formation.” There may be a little protest to the politicization of Beyoncé, but as someone who’s never been on board with her as a simple pop-artist, she’s certainly left a great impression this year.
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