The album is competently, often frustratingly more of the same from an artist who still seems capable of much more.
In a “manifesto” about her latest tour, Madonna insists that the guns and violence that open the show are metaphors.
Jessie Ware can speak volumes about love and fear with just one repeated refrain.
Mariah Carey might be the most reactionary pop star of all time.
If Dance Again proves anything, it’s that Lopez is, if not the queen, then at least the duchess of reinvention.
Madonna pilfers the title of one of her earliest rivals’ songs during the hook of “Girl Gone Wild,” only to defang it of its feminist bent.
The last time Madonna got divorced, we got “Like a Prayer,” so it’s hard to ignore how decidedly vapid “Give Me All Your Luvin’” is by comparison.
Since when exactly has “authenticity” ever been a criterion in pop music?
By now you’ve seen the video and heard the outrage.
The show’s trippy backdrop projections were at turns mesmerizing and convenient.
The Night the Sun Came Up fails to back up Dev’s claim that she’s more than just a Ke$ha clone.
Here, the writers are forced to rely on tricks to create a cohesive storyline outside of the web-chat format.
Rabbits on the Run isn’t quite Carlton’s Extraordinary Machine, but the album signals that she just might be capable of such a magnum opus.
As with seasons past, the quality of the writing on Weeds fluctuates even more wildly than Nancy’s mood swings..
The most obvious Reagan-era reference here is Ken Russell’s 1984 sex thriller Crimes of Passion.
The singer’s sophomore effort will likely be playing on a loop in hell and all the “bad kids” will be dancing to it for eternity.
Love? isn’t the all-out dance album it could—and should—have been.
Bonkers has always been a hat that Beyoncé has worn well.
“E.T.” finds the singer taking on the role of an extra-terrestrial goddess who changes outfits more often than Cher during her Vegas stage show.
What does Britney bring to the table? Maybe it’s just a brand name that sells.