This is the fourth full-length album from pop diva superstar Ariana Grande, and it’s also the follow-up to her 2016 album “Dangerous Woman.” In 2017, Ariana’s year started pretty solidly, as her single “Side to Side” with Nicki Minaj stuck around in the Top 10 early on, and she was featured with John Legend on the rendition of the iconic song “Beauty and the Beast” for the live-action remake of the film. Despite not releasing a new project in 2017, she was named Billboard’s Female Artist of the Year, since “Dangerous Woman” continued to chart well during the year, and she also spent 2017 performing on her “Dangerous Woman” tour to promote the album. Unfortunately, her year had one massive, difficult moment that has stuck in the minds of many: in May, her performance at the Manchester Arena in England ended on a horrifying note, with a suicide bomber detonating a bomb in the arena’s foyer, killing 23 and leaving 500 injured. Ariana did show strength in the face of this with her performance in the One Love Manchester benefit concert that also featured artists like Justin Bieber, Katy Perry, Pharrell Williams, Miley Cyrus, and many more. She raised $23 million for the victims and their families and was also named the first honorary citizen of Manchester.
It’s difficult having to bring up those events again in this review, especially since they happened what feels like a long time ago, but it feels almost necessary because Ariana, at least subtly, alludes to some of those events on this very record. The leadoff single “no tears left to cry” seems to be Ariana’s way of saying that she’s finally back in a more positive frame of mind after those events, and in the hook of “the light is coming,” Ariana says “the light is coming to give back everything the darkness stole,” seeming to speak to the ideology that, after all that she went through in 2017, positivity is finally back in her corner this year. While the latest single “God is a woman” tells me that not every song will speak to that theme, it seems like Ariana is taking a very interesting, different sonic direction with this album, with what feels like a little more hip-hop influence as well. Ariana, I marathon-reviewed your first three albums and I absolutely adored them, and I’ve loved those first three singles, I am ready to be blown away with this album. Let’s see if she does that:
raindrops (an angel cried): Ariana kicks off the album with a very short intro track (it sits at just 38 seconds in length), which isn’t too out of the ordinary for her given that she started “My Everything” with a 1:20 track. Even as a track with no instrumentals whatsoever, this is an intro I fell in love with on the strength of Ariana’s vocals alone. She sounds very heavenly and angelic, and it’s a sign of what’s to come from her vocally here. I dig it!
blazed (ft. pharrell williams): A collaboration with the legend himself Pharrell Williams (who actually helped produce a number of the tracks on this album), this very danceable banger actually has something of an old-school vibe to it. I love the pounding drum beat on it, and Ariana’s vocals sound gorgeous as she sings about never letting go of someone that she loves. I wish Pharrell had a slightly bigger presence, but I commend that his vocal performance on the hook is very charismatic, and he helps create something that’s pretty catchy as well. As the first full song on the album, this is a good starter!
the light is coming (ft. nicki minaj): Ariana brings in frequent collaborator Nicki Minaj on this one (good, because with the year she’s had, she needed some big help) to rap an opening verse that is a bit sloppy but is nevertheless decent enough for what it’s trying to do. Ariana takes control afterward, sing-rapping (to a degree) about how positivity is back in her corner, and how “the light” will “give back” what the dark, negative cloud that hung over her stole. It’s actually a very weirdly cut, hip-hop banger that, I know has gotten a rather polarizing response thus far, but I really dig it. I love the bouncy production, Ariana’s vocals are very pretty as always, and I think the hook is very ear-wormy and very catchy. Really like this one.
R.E.M.: No, that title is not a gimmick, the song is about sleep…well, kinda. Ariana speaks about how she doesn’t want to wake up from the dream she is having about a lover of hers. This one’s got a much slower feel to it with some very cool, snappy percussion and very spacey, ethereal synths. Ariana sticks into her lower register throughout the entirety of the song, but she sounds great doing it, and she crafts another really catchy, immediate hook as well. Once again, it’s got a much different feel than a lot of Ariana’s other stuff, but it’s a very sensual, lovely track that I really enjoy!
God is a woman: No, if you haven’t heard this single yet, Ariana is not insinuating that God, as an entity, is a woman. I’ve had one or two people ask me about that, but no, that’s not the case. Ariana instead talks here about how the sexual pleasure he provides is so incredible, it will make you believe that she, a woman, is your God. Ariana once again leans toward a trap sound on this one but does so with some very soulful vocals, a really gorgeous hook, and some very ecstatic production. I love the catchy, upbeat percussion, there are some very cool guitar riffs, and even if it’s somewhat unconventional for Ariana, it’s an excellent-sounding single that’ll definitely stick with me in the future.
sweetener: The title track of this album deals with more themes of positivity, as Ariana talks about taking any stressful situation and adding some “sweetener” to it as a way of improving it and making it more positive. This one has another more hip-hop-influenced feel to it, with Ariana kind of rapping her way through the post-chorus (of course, not before providing very glorious vocals on the chorus itself). Ariana’s overall performance feels very sensual and energetic, and she meshes well with the trap percussion and electronic mixing on this one. It’s a song that has the feel of an older Ariana track with some very cool, new vibes as well, and it’s very successful for that.
successful: Speaking of the word "successful," uhh...this song! Something of a more braggadocious track, Ariana talks here about how happy she is to be young and successful, while also flipping it back to be a more positive message to her listeners, as a reminder that they are successful. This one has a more sunny feel to it that kinda feels like a number of 2010s pop songs, and the groovy bassline and bouncy percussion really add to the song. Ariana comes through with some very gorgeous vocal melodies as well, and while I wasn’t that crazy about the hook at first, it definitely grew on me as I continued to listen. I also love how some of the production actually feels like a video game (might seem like an odd comparison, but I felt some “Paper Mario” vibes while listening to it, honestly), and I think the way that mixes with Ariana’s vocals really drew me into this one and didn’t let me go.
everytime: Apparently one of Ariana’s favorite cuts on the album, this one talks about a more reckless love and infatuation to someone, and she sings about this over some more trap-infused production. It’s a darker-sounding track, but Ariana’s vocals up against the trap instrumentals actually feel like a welcome reprieve from a lot of the trap-rap that I hear these days. She sounds gorgeous over the very nocturnal keys, her vocal flow is very strong (she’s also got some great runs on this one as well), and naturally, she manages to create another very fantastic hook on this one. I know that some people might not be quite open to a song like this, as it is a bit strange to see Ariana go in the trap direction, but I’ll just say that I think she handles the trap-infused style better than a lot of these rappers that handle this style regularly.
breathin: A more personal song, Ariana sings on this one about the days where her anxiety makes her feel like she loses her energy to do things. As a man who battles with anxiety on a regular basis, I know all too well how that feels. And again, given that this one deals with themes of anxiety, it’s appropriate that some of the production is darker here, with darker keys and some more snappy percussion. Still, the song itself is very upbeat and danceable, and Ariana takes to this style well, coming through with very powerful vocals and a hook that really sticks in your head for all the right reasons. It’s another cut that feels like an amazing compromise between the upbeat feel that Ariana regularly goes for, while having very interesting, different-sounding production to keep it feeling fresh!
no tears left to cry: You know, after giving this song plenty of repeat listens, I’m a little shocked it wasn’t the opening track on the album. With the fact that it has the theme of Ariana “picking it up” after the Manchester attack, and the overall positive lyrics that speak of rejuvenation, I would’ve thought this would be the perfect song to start off the album with. Either way, I think this is an excellent slice of electro-pop that sees Ariana in top form as a vocalist. Right from the very angelic vocals she provides on the intro, Ariana shows that she’s not playing around, and the production is really strong: the very potent keyboard chords mesh well with the click-clack production on this one, and Ariana’s hook is one of her absolute strongest. Right from my first listen, I knew that Ariana created a bop with this single, and I think it’s already shown some impressive longevity. I really love it!
borderline (ft. missy elliott): Here, Ariana recruits the legendary Missy Elliott for a very bouncy, electro-pop/rap crossover song that’s dominated a lot by its very catchy, click-clacking percussion (that also includes cowbell! Nice!). Ariana comes through with some really catchy vocal melodies on this one, and that percussion I mentioned early is emphatic and very sticky as well. Beyond the percussion, though, there are some very cool, dreamy synths on this one, and Missy Elliot has some pretty solid flow on this one. Again, very different than Ariana’s other stuff, and it might take some getting used to for her fans, but I think it’s really infectious and exciting stuff!
better off: A track that narrowly ended up making the album, Ariana talks here about getting out of a toxic relationship, and she potentially references her former boyfriend Mac Miller. And playing to this sad topic of being in a toxic relationship, the song has a more somber feel, consisting largely of some very moody, thumping strings and a slower overall pace. The percussion is a bit more lowkey as well, and Ariana’s vocals stick into her lower range, but again, I think that fits in with the sad feel of the song. And again, I love the electronic production on this one, it really pulls me in and keeps me interested despite the song’s slightly shorter length.
goodnight n go: A cut that was heavily inspired by Imogen Heap’s “Goodnight and Go.,” this one once again mixes a few different genres, from trap to EDM (as it has something of a beat drop), but it blends them very well, and it mixes a number of Ariana’s feels, from occasionally being more upbeat and poppy, to being more minimal and allowing Ariana’s very breathy, gorgeous falsetto to take the spotlight. I like how this one blends so many feels and ideas together and turns them into such a catchy, vibrant song that never loses focus. A lot of times, when you try to blend as many ideas and genres like this one does, you run the risk of making the song feeling unfocused, but fortunately, this one definitely doesn’t. It’s actually a pretty fantastic cut altogether. I kind of hope Ariana releases it as a single, but even if she doesn’t, that doesn’t take away from my enjoyment of it.
pete davidson: Another short interlude (clocking in at 1:14), this is an ode to Ariana’s fiancé Pete Davidson, and in it, she talks about how happy he made her when he came into her life. Unlike the last interlude, this one actually has an instrumental to it (again, a trap-flavored one). Beyond the very sweet lyrical content, I do really love Ariana’s passionate vocals, as always, but I also think I’m drawn into this interlude thanks to its fantastic production, which consists largely of very pretty strings. There’s not a whole lot to unpack with it, but as a tribute to the love of Ariana’s life, it’s very nice!
get well soon: An appropriate lyrical finisher to an album that spreads positive messages, Ariana uses this song as a way to tell her listeners to take care of themselves, again subtly referencing the frame of mind that she was in in the wake of the Manchester attack, where her physical and psychological self were both heavily affected by the events of the attack. It’s the longest cut on the album (at 5 minutes and 22 seconds, an important detail we’ll bring up in a minute), and right from the start, I was loving the very jazzy feel of the song and the vibrant piano chords in the intro (oh, and the snaps are nice as well). Ariana’s vocals are very charismatic, and even if she goes to the start-stop flow on the hook that I’m not usually crazy about, she really sells it. It’s got a somewhat danceable vibe, especially when the trap drums kick in, and it once again feels like a compromise between the bouncy feel Ariana has built herself on with a great new twist to the production. And, referring back to the Manchester bombing, Ariana actually leaves the final 40 seconds silent as something of a dedication to the victims of the Manchester bombing, and while it seems unconventional, it’s actually fitting, as the song’s length of 5:22 matches the date of the bombing, May 22, or 5/22. It’s a really great, well-thought-out finisher to the album that doubles as a nice tribute and a great listen on its own.
Yep, I was blown away. Ariana Grande’s “Sweetener” was everything I wanted it to be and then some. Ariana takes on a number of different feels with this album (largely trap bangers), and while that may seem unconventional for a pop diva such as herself, she handles it with aplomb, crafting some very gorgeous, energetic, and infectious blends of pop, trap, and electronic music that feel like great mixes of her typical vibe as style, as well as a new, interesting sound. Her vocal chops remain on point as always, and she reminds us once again that she has an incredible ear for hooks as well. And from a lyrical standpoint, given that a number of the songs allude to the tragic Manchester bombing and see Ariana placing herself in a more positive state of mind, I can really appreciate that she can make songs that spread messages of positivity without feeling trite. I know a number of her fans might find the album a bit unconventional, and it might not be for everyone (I mean, I’m not sure how many of us expected someone like Ariana Grande to start putting out trap-inspired music), but I really hope her hardcore fans really give this thing a shot and really support what Ariana’s going for here, because I really think she’s putting out some of her best work with this album.
Ari, I said at the beginning of this review that I was ready to be blown away. Congratulations, you did it.
Favorite tracks: EVERY SINGLE ONE!!!!!
Least favorite tracks: DON’T COME AT ME WITH THAT, THIS ALBUM MADE ME TOO HAPPY FOR “LEAST FAVORITE” SONGS!!!!!
Rating: Excellent
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