In defense of Camila Cabello and letting pop girls try new things

Camila Cabello hasn’t had an easy time with her latest album C, kisses kisses. Since releasing lead single “I Luv It” in March, she’s been criticized for “trying too hard” to go against the pop radio identity she’s built with her hits “Havana” and Señorita” – two songs, by the way, that Stan Twitter already hates. She was accused of copying her contemporaries, striving to be bold, and adopting an aesthetic that seemed to contradict the pop star perfect made for her when she was in Fifth Harmony But from the beginning, this Cabello – a fried blonde wild child, referencing an anime and rap, on which she is featured. C, kisses kisses – was still there. Many of us hadn’t met her yet.

Cabello’s fourth album follows THE The “rebranding” model established by the pop stan cycle. These expectations around reinvention are placed almost exclusively on women and require artists to change their aesthetic and style for each album. Take Taylor Swift going from Snakes and Revenge to Reputation Rainbows and Lisa Frank on Lover. Or Katy Perry, who went from frolicking among the flowers to Prism to Nicki Minaj’s daring collaborations and an infamous pixie cut Witness. Women in pop are constantly asked to peel back a layer of themselves for the consumer and present a new “version” of their artistry, often so fans, as in Cabello’s case, can pick it apart. This creates an unsustainable, endless loop for pop queens and sets artists up for an era of inevitable failure.

But the point is, we should let pop girls try whatever they want without so much scrutiny and pressure. And in this case, there’s reason to believe that Cabello is actually tapping into a real side of herself, rather than just making up this whole aesthetic for commercial gain. She’s always been the weirdness she shows us on C, kisses kisses: During Fifth Harmony Reflection And 27/07 At different times, she was known for introducing fans to experimental pop music like that of Jon Bellion. Human condition and StromaeSquare Root of — two albums known for their eccentric and avant-garde production style. Cabello always did something that didn’t fit with the saccharine pop cuteness she’s known for, even if it wasn’t obvious to the casual listener.

This C,XOXO Cabello, who wears ski masks on stage and samples Gucci Mane, is not that far from the one she showed us on the oft-forgotten and truly underrated “Love Incredible,” the Cashmere Cat collaboration co-produced by…check notes…the incomparable Sophie. On “Love Incredible,” the high notes filtered through Cabello’s voice danced over hip-hop drum beats that had C, kisses kissesCabello’s experimental heart is written all over it. Perhaps Cabello just hasn’t had the chance to show this side before, given the pressures of her label and her girl group past. As she said The most suitable rangethis album finally sees her “achieve what I had in mind since the beginning of my career: making pop music that sits left of the stage. Being inside, while being a little outside. »

Artists are always looking further afield to find their own talent, and this is often met with backlash. See for example Becky G, who let herself go from teenage rap star to reggaeton status queen Mexican music singer in the span of three albums. Although some fans accused her of pandering to Latin trends, she eventually found the space to embrace all aspects of her Latinaness on Schematics And Corners. Or take Rosalía, who went from the flamenco-focused avant-garde Badly Asked on headphones, infused with reggaeton Motomami – and faced immediate pushback. Combined with a breathtaking live show, the Motomami era proved to be a fan favorite and earned her four Latin Grammys, including Album of the Year. It takes courage to try something new, and recognition always follows.C,XOXO And Motomami share the brain of El Guincho production in common.)

Aside from the rebranding, Cabello’s launch was marred by a series of unfortunate events external to her. Charli XCX arrived with the album that defined a generation Kidthat many have tried to compare C,XOXO has; apparently every other pop girl — Dua, Billie, Ariana, Normani, Tyla — released seminal albums around the same time. City Girls’ JT and Yung Miami stepped up online when it was announced they would join her on an ode to Dade County and Drake, which features prominently on interlude and album standout “Hot Uptown,” suddenly became rap’s most hated villain; and to top it all off, The-Dream, who Cabello sampled (and originally featured) on the standout “Dream-Girls,” faced a rape charge a week before Cabello announced the tracklist for his LP. All of this drew attention and overshadowed the zany experimentation Cabello embraced on the album. Unfortunately for Cabello, her music simply doesn’t exist in isolation.

Whatever the perception of his fourth album at this point, C, kisses kisses will be an exciting album to revisit once we’re far from the pop oversaturation of 2024. The album captured Cabello moving away from the single-driven album era that defined her in the past and rather sees her adopting a new aesthetic and musical energy. it pushed her out of her comfort zone. C, kisses kisses was designed to subvert expectations, to stretch its songwriting muscles, and will perhaps be more of a cult classic than a generally embraced record. And that’s OK. As rolling stoneCabello’s review describes a “fiery, hungry album that seems fearless even as it grapples with the unknown.” She’s a better artist for taking a chance.