Nearly impeccable from start to finish, “eternal sunshine” is just under 36 minutes long, with infinite replay value. The songs are succinct, pulling from the best of her previous works: the stickiness of 2018’s “sweetener,” the sincerity of 2019’s “thank u next,” and the soulfulness of 2020’s “positions.” In the shadow of “eternal sunshine,” those albums now read like rough drafts from an artist still finding her sound and a woman still finding herself.

Interest in Grande’s relationships has long fueled interest in her music, with her songs becoming increasingly introspective. On “sunshine,” she leans into it completely – out of necessity. Its lyrics read like the notes from a therapy session that document a journey from hurting to healing… or sunset to sunrise.

“eternal sunshine,” the sunset

The album begins with the sunset of her marriage. Grande expresses a range of heartbreak-adjacent emotions across a series of tracks: from the bitter sass of “bye” to the bittersweet shame of “don’t wanna break up again” to the apologetic “eternal sunshine.” While she can deliver soaring vocals, Grande opts for a more muted approach here that complements the pensive disappointment of her words.

Of course, the title track stands out here as the album’s thematic centerpiece. With flawlessly executed production, lyrics, and vocals, Grande opens the album with a showcase of her best assets. She emotively delivers confessional lyrics atop perfect pop production helmed by frequent collaborators like Max Martin and ILYA.

“eternal sunshine,” the late-night

Next, the album’s middle sinks into emotional twilight, shifting its tone from light to dark. She is starry-eyed by the prospect of a magical new love (“supernatural”), reflects upon how she’s been scorned (“true story”), and is unapologetic about pursuing her desires (“the boy is mine,” “yes, and?”). The latter two tracks are R&B-leaning romps that find Grande excelling in her comfort zone.

In the vengeful “true story,” Glinda the Good Witch asserts she can play the villain role, and proceeds to prove just that on the infectious “the boy is mine.” Referencing Brandy and Monica’s 1998 classic, Grande leaves no room for debate and proclaims she will take what she wants. Fittingly, it’s followed by the celebratory sass of “yes, and?” which sounds hollow in a post-Mariah Carey remix timeline without the presence of Grande’s musical “Mother.” Nothing that a lil’ playlist can’t fix, though.

“eternal sunshine,” the sunrise

The album’s final four tracks represent the sunrise, the dawn of a new day. Reflective, insightful, and mature, Grande truly shines here. The second single, “we can’t be friends (wait for your love),” is a quietly anthemic realization that perfectly captures Grande’s essence as an artist. The captivating video, inspired by the film “Eternal Sunshine of the Spotless Mind,” further elevates the emotional weight of the entrancing track.

The gut-wrenching “i wish i hated you” follows; a sparkling, sprite song that sounds inspired by “Wicked’s” equally tear-jerking final duet, “For Good.” You can hear Grande’s voice break at the end, sniffling as she fights back tears to sing, “I wish I hated you/ I wish that weren’t true/ wish there was worse to you/ I wish you were worse to me.”

Post-Manchester, Grande has not been shy about putting her feelings into her lyrics, but there is a piece of her embedded in each of the “eternal sunshine” songs, especially on these final four tracks. The cleverly titled “imperfect for you” is next, a swaying, put-your-lighters-up, self-aware torch song.

On the album’s closer “ordinary things” Grande shares one more very special piece of herself: a voice note from her Nonna (her Italian grandmother), who answers the question that Grande asks in the intro: “How can I tell if I’m in the right relationship?” The song seemingly holds the answer: in the right relationship, the ordinary things seem extraordinary.

Only Grande knows whether she’s finally found such a love. But, as an artist, she’s no longer ordinary. With “eternal sunshine,” she’s proven herself extraordinary.

Get the Amazon-exclusive “eternal sunshine” vinyl!

Or, stream “eternal sunshine” on your favorite platform!

The 97-Hour Review: Our 97-hour reviews offer commentary on new music just over four days after its release. While we generally like to spend a lot of time with the music we love before speaking on it, that’s what retrospectives are for. Until then, enjoy our fresh 97-hour take!

The post 97-Hour Review: On “eternal sunshine,” Ariana Grande proves herself appeared first on THE 97.

Prancing out of an Oz-induced hiatus, Ariana Grande puts her Glinda the Good Witch character aside (for now), to remind us that she is an unapologetic savage. The lead single from her forthcoming 7th studio album, “yes, and?” combines the dance-pop sounds of “sweetener,” the sassy trap of “thank u, next,” and the sultry delivery of “positions” for a track that attempts to pinpoint who Grande is an artist.

At the same time, there’s nothing particularly original or innovative about it. While “yes, and?” recalls elements of Grande’s most recent hits, it also heavily borrows from successful sounds by her more innovative influences.

Kicking off with a screwed-up vocal sample created an effect similar to Beyoncé’s use of a Big Freedia sample on the intro of her 2022 house-inspired hit “Break My Soul.” Lyrically, Grande’s take on house-inspired dance-pop is a youthful rewrite of the “resilience” theme in Beyoncé’s more matriarchal anthem. Like Queen Bey, Grande also leans into allyship with several lyrics that signal support for the queer community.

Musically, the song has been compared to another Pop matriarch: Madonna. Before its release, early reports suggested the track contained a “heavy interpolation” of Madonna’s 1990, house-inspired classic, “Vogue.” But… it doesn’t. Penned by Grande alongside go-to collaborators ILYA and Max Martin, the track doesn’t credit any samples, nor does it sound like it heavily borrows anything, aside from being a house-inspired, dance-pop song of the same vein. In actuality, the song is less Madonna-coded than it is Mariah-coded. As usual, Mariah Carey’s influence on pop music remains understated.

Once the beat drops, the self-professed Lamb floats atop it with some masterfully Carey-esque high notes. Long compared to the legendary diva, in recent years Grande has gone from sounding like a student to a graduate in how she takes notes from Carey. Throughout the track, it’s clear Grande’s low-key vocal delivery is inspired by Carey’s late 90s pivot to sultry subdued vocals instead of her early 90s bombast. While Carey generally lets loose on her house mixes of the same era, it seems Grande opts to be the “Christmas & Chill” to Mariah’s “Queen of Christmas” when it comes to house track vocals.

This choice is where Grande falters. In the chorus, she sings, “Say that shit with your chest,” so, you’d expect her to do just that. Instead, she merely mutters “yes, and?” as nonchalantly as she’ll ask you to break up with your girlfriend because she’s bored. While she does deliver a few soaring adlibs later in the track, as one of the most talented vocalists among today’s pop singers, she leaves the listener with less of a “yes” feeling, and more of an… “and?”

While it may be a creative misstep, it might prove to be a wise choice commercially. After a few spins, the song, unassuming at first, becomes endearingly infectious — sort of like Grande as an artist. In the end, the “yesses” of the song outweigh the “and?” aided by its minimalistic music video.

Here, Grande is heavily inspired by another late 80s Queen: Paula Abdul in her “Cold Hearted” video. Emulating the concept in more ways than one, the “yes, and?” video is certainly an homage to Abdul’s 1988 classic. With a similar storyline, setting, ensemble, and similar, yet subdued choreography, the comparison is undeniable.

As Wilde said, “Imitation is the sincerest form of flattery,” and indeed, Abdul seemed flattered, calling it an “honor.” However, the second half of Wilde’s quote is often left out: “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

While Grande’s “yes, and?” is a fun, enjoyable song that is sure to become a hit, it’s a mediocre track in comparison to the greatness that inspires it. Throughout her career, Grande has been consistently successful — and is by no means mediocre — but often sells herself short. Here, the song’s title is quite fitting: two parts “yes,” and one part “and?” After ten years in the industry, it’s time for Grande to perfect her formula — and start innovating rather than imitating.

Listen to “yes, and?” by Ariana Grande

The post Review: “yes, and?” by Ariana Grande appeared first on THE 97.

“I’ve been in my Normani bag, for sure, so it’s time for a project,” jokes Gray.

Following the album “Teo” in 2018, Gray dropped a string of singles, one per year (indeed, just like the elusive Fifth Harmony singer). In 2020, he began curating an R&B playlist, Flavor Waves. Now, though, Gray is focused on curating his sound.

“I’ve had a concept in mind for a couple of years now, and I’m finally getting to execute it,” he says of the track. “It’s an official launch into this world of futurism that I’ve been wanting to embody.”

That futuristic, time-traveling concept Gray refers to is not only present in the song’s artwork but in its production, too.

“I really wanted to fuse this idea of time flying by when it came to the pacing,” says Gray. “No matter what you’re doing, no matter if you’re in a state of productivity or depression – time is still going, you can’t cheat time.”

“I wanted to have that chaotic feeling mixed with my intrusive thinking and depressive thoughts,” he says.

While Gray credits the UK Garage sound and acts such as Craig David and PinkPantheress as sonic inspirations, it’s the song’s exploration of an existential crisis that sets it apart. Written when he was 29, going on 30, the song is steeped in vulnerability.

“With ‘Crisis,’ I really pride myself on the lyrical content and the statement that it makes,” says Gray.

“It’s a message of solidarity to everyone like me, who goes through these feelings, of just not understanding their purpose and feeling frustrated by how fast or slow it’s taking to accomplish the goals that you have.”

In both the song and our interview, Gray notes the impact that living in LA as an indie artist has had on him. The crisis he sings of is not solely personal, it’s professional as well. Save for a handful of lightning-in-a-bottle examples, succeeding in the music industry is an uphill battle for indie artists like Gray. And, he’s not afraid to speak on it.

“I directly call pieces of my music career out in the song, I mention specific ways that I’m not progressing. It’s a harsh reality,” Gray admits.

“A lot of artists, signed and unsigned, don’t like to appear in a vulnerable state with their own careers, because part of being an artist is this illusion, or this mystery or allure that you are at some kind of echelon that is unattainable,” he adds.

“I kind of break all of that down, you know, so I can move forward.” 

Gray notes Janet Jackson’s “The Velvet Rope” (which used the Adinkra symbol Sankofa to represent its theme of learning from the past to move forward) as a major influence at the moment. He also cites Maxwell, Babyface, Musiq Soulchild, Usher, and “Mariah Carey, of course.”

“Tinashe is someone I really look up to in the current landscape of art as well,” he adds.

“I just love people that are able to combine visual and audio elements to really create a world or universe themselves,” says Gray.

Beginning with “Crisis” and culminating with the release of an EP titled “RESET” in 2024, Taylor Gray is ready to take listeners on a journey into his universe.

Take a listen to “Crisis,” and keep up with Taylor Gray on social media.

The post Taylor Gray talks new single “Crisis,” announces EP appeared first on THE 97.

An R&B duet is a dish best served hot — with the right ingredients, a pair of crooners can combine to create cosmic chemistry. On “JEANS,” budding star Jessie Reyez and burgeoning icon Miguel join forces to secure their very much-deserved places in R&B. The scintillatingly slow jam is anything but shy with its grind-inducing guitar licks and blush-inducing explicit lyrics. Reyez’s gruff and gritty vocals are perfectly complimented by Miguel’s guttural groans. The track may be titled after an article of clothing, but the pair surely has every intention of inspiring their removal. It’s a sure thing.

Watch the “JEANS” video, stream it, or get some records by Miguel or Jessie Reyez.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post Review: “JEANS” by Jessie Reyez & Miguel appeared first on THE 97.

Seeing red? Mission accomplished. Doja Cat has been inciting flames of fury amongst her fans, some former, with recent comments and criticisms she’s made about stan culture. Truth be told, this instance is hardly the first or worst controversy to surround the hitmaker; being problematic is essentially part of her brand at this point. Nonsense aside, the first two singles from Doja Cat’s fourth studio album “Scarlet” see her leaning hard into Hip-Hop, shedding the glossy pop sound behind her biggest hits. While “Attention” didn’t create too much buzz, “Paint the Town Red” has ignited quite the stir.

Debuting at #15 on the Billboard Hot 100, the Dionne Warwick-sampling track is only gaining in popularity. Today, it broke records on Spotify, garnering the largest single-day streams total of any solo female rap song. It’s predicted that the song will enter the top ten of the Hot 100, potentially reaching #5. The success is well-deserved. Doja Cat’s choice to quit straddling the line of Pop and Hip-Hop and embrace her status as one of Hip-Hop’s leading lady rappers is proving to be a success. As its insanely catchy chorus goes, “Bitch, I said what I said; I’d rather be famous instead.” Her no-fucks-given attitude has translated into the music, and it’s clear that while it may make her unlikeable, it’s made her music undeniable.

Watch the “Paint the Town Red” video, stream it, or get some Doja Cat vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post Review: “Paint the Town Red” by Doja Cat appeared first on THE 97.

Time to get your passport stamped! With production reminiscent of Pharrell’s “In My Mind” era, the hilariously yet trendy titled “Passport Bros” by Bas and J. Cole easily mixes Afrobeat and Bossa Nova with a jazzy string section that serves up a beachside bop perfect for the summertime.

Bas’ laid-back, rhythmic flow, along with some cleverly used product placement, lends itself well to the song’s intercontinental instrumentation. Comparatively, Cole’s signature staccato aligns with his masterful wordplay to make the track’s two halves fuse together perfectly to create a referential, yet original track. Let me drive the boat!

Watch the “Passport Bros” video, stream it, or purchase some J. Cole or Bas on vinyl

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post Review: “Passport Bros” by Bas & J. Cole appeared first on THE 97.

Once upon a time, Hip-Hop went Pop. When its biggest stars began to collaborate with pop stars, the genre transitioned, for better or worse, to the mainstream. Now, the same is happening with K-Pop, emblematic by its most successful group BTS aligning with artists across genres. For his latest solo single “on the street,” BTS member j-hope taps his favorite rapper and “muse,” J. Cole, to bridge the gap. For Cole, it’s an unexpected feature that proves his versatility. Roles have reversed as Cole, once the newbie seeking his idol’s approval, welcomes j-hope to the Cole World.

Watch the “on the street” video, stream it, or grab some j-hope vinyl!

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “on the street” by j-hope & J. Cole appeared first on THE 97.

Ambitious rising stars in pop often collide to combine their star power, yielding #BigEnergy. Newly solo seventh of K-pop’s biggest band BTS, Jung Kook, and one of the hottest new women in Hip-Hop, Latto, join forces on “Seven,” a sizzling, summer sex romp that is anything but subtle. In true boy-bander-gone-solo fashion, BTS’ youngest proves he’s all grown-up, putting all interested parties on notice: “Night after night, I’ll be fucking you right.” Latto, understanding the assignment, matches his vibe: “Come here baby, let me swallow your pride.” As addictive as, apparently, you-know-what… “Seven” is tailor-made to repeat.

Watch the “Seven” music video, stream it, or grab some Jung Kook merch!

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

The post Review: “Seven” by Jung Kook & Latto appeared first on THE 97.

In a musical landscape littered with relentless singles that are barely two minutes long, it’s the artists who take their time that serve up the best time. On her new single “Talk to Me Nice,” the ever-versatile Tinashe continues to impress by keeping things fresh. The fact that the song clocks in at nearly 4 minutes sets it apart, but also the sensual, slickly produced mid-tempo love song is not just a mood, it’s many. Bouncin’ from chorus to verse to bridge like movements of a symphony, Tinashe reminds us she can ride any vibe. She’s always nice.

Watch the “Talk to Me Nice” video, stream it, or get something from Tinashe’s discography.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

The post Review: “Talk to Me Nice” by Tinashe appeared first on THE 97.

Once songs from your adolescence become the go-to source of samples, you’re officially grown. And, if you’re Missy Elliott, well… that’s just another reminder that you’re that bitch. Up-and-coming British girl group FLO sampled Elliott’s 2001 classic “Work It” on their single “Fly Girl,” and even managed to snag a co-sign from the legendary Misdemeanor. The track leans heavily on nostalgia in sound and lyrics, referencing another 2001 classic by Jagged Edge as they confidently sing, “I don’t need a man to tell me where the party is.” Like the hits they’ve sampled, expect these fly girls to stick.

Watch the “Fly Girl” video, stream it here, or check out their latest EP.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

The post 97 Words: “Fly Girl” by FLO feat. Missy Elliott appeared first on THE 97.