A little more than 20 years ago, when the non-Spanish-speaking world discovered Shakira, she had dyed herself blonde, but she still had that distinctive voice she'd been making since her teens. Hip rolls never hurt her career, but it was her voice, lyrics, and rebellious tone that made her the star she became.
After two decades and dust, the young Lebanese-Colombian singer has become a global icon and a 47-year-old woman who went through a highly publicized breakup with another public figure. Furthermore, there is a break mentioned in several parts of Las mujeres ya no uran (The woman no longer cried). But along the way, Shakira fit into the mold.
Much of this disc is actually content with what is typical of what Latin/American pop music is today, i.e. rhythm-focused music with few melodies and made up of the obligatory clips of current afrobeat, reggaeton, and electronic dance music, and this use of It's unbearable of autotune that unifies everyone's voices. Here, this audio correction software flattens Shakira's very distinctive voice.
The Blonde Hurricane may struggle by doubling down on her ex-husband's vitriol, by exposing her broken heart and demonstrating her strength of character, and the fact remains that most of the album dissolves into a magma of déjà vu. Her guest list, from Cardi B to Rauw Alejandro to Karol G, does nothing to help matters.
However, she finds her voice on (between parents), a song in cumbia dialects in collaboration with Grupo Frontera. She returned to more rock sounds from the 1990s onwards How to live and Kwando. It also offers a beautiful piano song, Altima, where her voice takes on a serious, rounded profile that evokes that of Natalia Lafourcade. with Aljafithese songs are among the rare songs that we want to save from a disc that has been heavily formatted.
Excerpt from (between parents)
Latin pop
Las mujeres ya no uran
Shakira
ACE Entertainment/Sony
“Amateur entrepreneur. Professional internet expert. Zombie maven. Incurable pop culture scholar.”
