In a recent trend, some pop stars have strayed towards introspective, self-referential albums. While unpacking personal narratives holds merit, there’s something undeniably joyful about pure, unadulterated pop. Thankfully, Dua Lipa’s new album, “Radical Optimism,” embraces the escapist power of the genre, offering a refreshing return to pop’s ability to transport listeners.
Lipa, a 28-year-old singer with Kosovan Albanian roots, understands pop’s ability to transcend the complexities of daily life. “Radical Optimism” doesn’t require deciphering cryptic references or personal mythologies. Instead, it invites listeners to lose themselves in the music, to move their bodies with uninhibited joy. This focus on pure pleasure positions Lipa as a leader in a new wave of pop artists, alongside names like Sabrina Carpenter, Tate McRae, and Troye Sivan. However, Lipa stands out for her ability to craft expertly structured pop anthems with catchy hooks and relatable lyrics. This talent is likely why she was chosen to open the Grammys with a medley of tracks from the album. “Radical Optimism” is undeniably infectious, offering immediate gratification from the first listen.
Analyzing the individual components of modern pop songs, especially dance tracks heavy on synths and electronic effects, can be a futile exercise. “Radical Optimism” utilizes a blend of drums, bass, keyboards, guitars, and percussion, but the true star is Lipa herself. Her voice is powerful, occasionally throaty, and perfectly suited to deliver catchy melodies.
Poptimism, a critical viewpoint that values pop music’s ability to connect with a wide audience, teaches us that creating effective pop is no easy feat. Lipa tackles this challenge head-on, co-writing much of the album with a talented team including Danny L Harle, Tobias Jesso Jr., Caroline Ailin, and Kevin Parker (of Tame Impala fame). Parker’s influence injects a warm, seventies vibe reminiscent of “Saturday Night Fever” and Quincy Jones. Tracks like “Houdini” evoke the spirit of Chic’s “Le Freak” and Michael Jackson’s “Don’t Stop ‘Til You Get Enough,” with Parker’s signature touch especially evident in the chorus’ backing vocals. This collaboration is a highlight of the album, with Lipa singing a sharp, skeptical line: “Maybe you can get a girl to change,” hinting at a theme central to “Radical Optimism” – independence.
I come and I go Prove you got the right to please me Everybody knows to Catch me or I go, Houdini,
The playful slur in “Catch Me” evokes a hint of Bhad Bhabie, the controversial rapper. However, the image Lipa conjures with “Houdini” is far removed from the rapper’s persona. We can’t help but picture a short, serious Hungarian magician in a turn-of-the-century bathing suit – a comical juxtaposition against Lipa’s sleek and stylish image. This sense of playfulness is a refreshing aspect of “Radical Optimism.” It reminds us that art can be both profound and lighthearted, intellectually stimulating yet emotionally accessible.
