El ojo público
Reviewing Ariana Grande’s latest studio effort, the album opens with a clean, supple blend of R&B that nods to the late 90s sound while keeping a modern polish. The opener, yes, and?, strolls through Vogue-inspired vocal hips and a chatty energy that recalls the era without losing contemporary bite. The track Bye becomes a touchstone, echoing the crisp clarity of early Whitney Houston while still feeling distinctively current. Grande leans into a mature, reflective mode across the record, marking a deliberate move away from a traditional singles-first approach toward a cohesive narrative arc that unfolds with each song. Yes, and? previously announced as a single, now sits as a foreshadowing of a largely unreleased album, inviting listeners to experience a largely fresh collection in one sitting.
The project is framed as a divorce-era statement, released just five months after her public breakup with real estate executive Dalton Gomez. The songs wander around the nature of love from the vantage point of someone in their 30s, a theme hinted at in the introductory track: “How do you know you’re in the right relationship? Is it something you’re supposed to know?” As a preface, the album aligns with a rising trend in pop where albums are treated as serialized stories rather than a heap of singles, a setup popularized by contemporaries like Taylor Swift. The listener is invited to hear an almost entirely original suite rather than a string of radio-ready cuts.
Public perception
Yes, and?, replete with its bold “vogueing” moments, serves as a focal point where Grande responds to her critics with a calm, confident stance: “don’t comment on my body / don’t respond / your business is yours, mine is mine.” The album’s centerpiece — a title track that rides a minimal R&B pulse on the vocal falsetto — opens with a provocative line about a seemingly astrologically timed life phase, a tongue-in-cheek reference that signals the broader theme of aging and self-awareness. The collection here reads as a narrative journey rather than a string of stand-alone hits, inviting repeated listening and interpretation.
The musical landscape is shaped by the return of veteran pop producer Max Martin, who helps anchor the project with polished mid-tempo tracks like Don’t wanna break up again and The boy is mine. These tracks weave a lush, melodic fabric that keeps the album accessible while allowing space for quieter, introspective moments. A standout stretch toward the end balances bright electro-pop elements with ballad textures, including We can’t be friends (wait for your love), the contemplative Imperfect for you, and Ordinary things, which closes the record with a personal, intimate thought delivered in Grande’s voice. The final moment carries a touching interlude voiced by her grandmother, Marjorie, aged 98, offering a gentle life-lesson: never go to bed without sharing a goodnight kiss when you’re in the right place. The emotional arc feels earned and human, and it stays with the listener long after the last note fades.
Today, the album presents as a listenable, unassuming collection rather than a radical reinvention. The way Grande channels nostalgia without dwelling in it — the light touch of pop, R&B, and soft electronic textures — makes the record feel comfortable, almost forgiving in its predictability. It’s a work that rewards patience, inviting fans to grow with the artist as she navigates love, change, and the bittersweet humor of life’s moments. The project is not merely about striking a mood; it’s about mapping an interior landscape with candor and warmth, a quality that resonates with listeners who appreciate honesty over bravado. Critics note that the album remains faithful to its singer’s strengths while showing a willingness to experiment within a familiar framework. [citation needed]
Otros discos de la semana
‘Where’s my utopia’
Yard Act
Island
Dance-punk
★★★★
Tras su debut, Yard Act aborda el segundo álbum con ambición, presentando una mezcla que se extiende más allá de la etiqueta post-punk. James Smith entrega letras autobiográficas con ingenio, mientras la banda fusiona funk, jazz, hip-hop, dance y pop en un registro más expansivo y menos inmediato que el primero. [attribution: crítica musical]
‘The collective’
Kim Gordon
Matador-Everlasting-Popstock
Art-punk
★★★★
La exbajista de Sonic Youth utiliza una estética de portada móvil para acompañar una visión perturbadora del presente. Con Justin Raisen de nuevo a la producción, el álbum despliega una paleta de cacofonías guitarreras, ritmos industriales y fusiones de dub y trap que desafían las expectativas del público. Aunque no todas las piezas logran el mismo impacto, la obra destaca por su valentía y por su voluntad de radicalizar lo sonoro. [citation]
‘Visions’
Norah Jones
Blue Note
Pop
★★★★
Norah Jones entrega un regreso que suena tanto nostálgico como fresco. Su voz clásica se posa sobre melodías que recuerdan grabaciones de otras décadas, con arreglos que conservan una calidad cálida y orgánica. Las letras hablan de sentimientos simples y complejos por igual, explorando el amor, la confusión y la madurez sin caer en el dramatismo. Este álbum es una exploración suave de lo cotidiano, con estribillos memorables y giros creativos que sostienen la atención a lo largo de cada pista. [critics’ note]