Over the past few years, the sound of pop has drastically changed from a synth- and bass-heavy vibe to that of light melodies and electronic hand claps. No one can speak to this more than Britney Spears, the princess of pop, who has reigned over the industry since “…Baby One More Time” came out in 1998.
This new breezy, sultry-whisper pop has easily been capitalized on by younger artists like Selena Gomez and Justin Bieber. Still, they call her the princess for a reason, and with her newest effort, it’s exciting to listen to Spears’ musical transition into this style, while still maintaining all the original elements of her classic discography.
Spears’ newest album is named “Glory,” which is exactly what Spears has earned after surviving almost two decades in the harsh music industry. This isn’t her first attempt at a “comeback” album, and with “Glory,” Spears is certainly letting listeners know that her musical evolution is not one to be discounted. Even after 17 years in the industry and eight studio albums, Spears still sounds fresh and exciting.
“Invitation,” the first song on the album, is a light and mid-tempo track that captures the feel of the album’s airy, well-produced sound. She sings, “Here’s my invitation, baby / Hope it sets us free / To know each other better / Put your love all over me.” Spears’ vocals are as confident as ever, harmonizing in key with the instrumentals while inviting listeners on the the sensual trip that is her album.
Her bold lyrics continue with “Make Me…“ featuring rapper G-Eazy. G-Eazy’s verse brings a strong R&B element that pairs well with Spears’ alluring vocals. She feels no need to tone her sexuality down, and at the same time, claims the pop sound of 2016 as her own.
“Private Show” incorporates elements of doo-wop and R&B, while “Man on the Moon” is a song that is reminiscent of Spears’ early sound. She hasn’t lost the innocent and inviting touch her older work is known for, but now has the familiarity to enlist producers who will help her achieve the sound she wants.
Spears’ last album, “Britney Jean,” was released in 2013 and produced mostly by will.i.am. While he failed to propel Spears into a more wholesome and adult sound, the producers of “Glory” seemed to learn from that mistake and match Spears’ desire to create a grown-up, but fun, pop album.
Swedish duo Mattman & Robin, who boast credits on Carly Rae Jepsen’s critically acclaimed album “Emotion” and Gomez’s commercial success “Revival,” offered their in-demand production services to the more refreshing tracks on “Glory.” The synth-pop “Do You Wanna Come Over?” is the staple party song off of the album, while “Slumber Party” is a soulful, flirty dance track.
Musician and producer Cashmere Cat also contributed as one of the producers behind the R&B-inspired track “Just Luv Me.” Cashmere Cat is also known for his work on Tinashe’s “All Hands On Deck,” and Kanye West’s “Wolves.”
But amidst these wins, the times when Spears tries the hardest are also where she fails on “Glory.” While it’s true that most of the album sounds modern and airy, tracks like “Clumsy” and “Just Like Me” are overproduced and repetitive. There’s this robot-like attempt at perfection that sizzles before the tracks even hit their chorus.
On an album of 12 songs with G-Eazy as the only feature, Spears’ dedication to experiment with new sounds is respectable in its own right. She infuses funky sounds into tracks like “Love Me Down” and “Hard To Forget Ya.” Her closing track, “What You Need,” has a gospel sound that leaves the album on a strong note of power.
This element of strength is refreshing to hear, since in the past it’s clear Spears’ label held most, if not all, creative control. The days where executive decisions were made off of milking the cash cow of Spears’ influential career seem to be over, and her autonomy proves that a confident Spears is all that’s needed to get yet another strong album from her.