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The release of Katy Perry’s and Taylor Swift’s new albums within the span of just a few weeks highlights a distinct difference between their approaches. Perry initially sidestepped a traditional release strategy, dropping standalone singles over the course of a year before finally announcing Smile in July (the “fan edition” will include all six pre-release songs). Swift, on the other hand, eschewed convention altogether by releasing her eighth album, Folklore, with little warning—an approach that, as Billboard pointed out, inoculated the highly personal, indie-inflected album from commercial expectations.
She made hits. That was the whole premise of Katy Perry — that and stirring up controversy in ways that often sent palms flying toward foreheads. At the peak of her commercial dominance, Perry presented a playful, colorful, hyper-stylized version of pop at its most plastic. A former Christian pop singer whose breakthrough single proclaimed “I kissed a girl and I liked it,” she delighted in cartoonish camp and winking scandalize-the-youth-group provocation, packaged in the sleekest and catchiest music money could buy. It sold, too: During the five-year run from her 2008 Capitol debut One Of The Boys to 2013’s Prism, Perry was arguably the biggest pop star in the world — though with Rihanna, Lady Gaga, Adele, Kesha, Taylor Swift, Drake, Bruno Mars, and Nicki Minaj also ascendant, there was no shortage of competition for that crown.
So “Smile” is a course-correction back to pure pop, with no featured artists and no political messages. It is Perry’s “I’m so sorry” album, littered with references to a chastened songwriter — “ego check,” “humble pie,” “better version” and “2.0.” Like the cover image, she’s a sad clown.
Since 2008, the ebullient pop megastar has enjoyed unprecedented success. Her spectacular sophomore effort, 2010's "Teenage Dream," is one of only two albums to chart five No. 1 hits on the Billboard Hot 100. (The other: Michael Jackson's 1987 album "Bad.") She's won five MTV Video Music Awards, earned 13 Grammy nominations and headlined the 2015 Super Bowl halftime show, which is still the most-viewed NFL performance in U.S. TV history.
Which brings us to "Smile," out Friday. In promoting the album, Perry, 35, has spoken at length about the intense depression she struggled with after "Witness," which was compounded by her breakup from then-boyfriend, now-fiancé Orlando Bloom. The music on "Smile," she says, charts her journey to finding happiness again, as she and Bloom prepare to welcome their first child together any day now.
This self-reflection, however, is too often accompanied by by-the-numbers pop that puts the more adventurous, if uneven, Witness in stark relief. Swedish producer Oscar Gorres lends “Cry About It Later”—on which Perry endorses the postponement of sorrow in favor of short-term pleasure—the same rollicking freneticism he and Max Martin brought to the Weeknd’s “Blinding Lights,” while “Never Really Over” boasts one infectious refrain after the next, gradually building on each other in ways reminiscent of Perry’s best-crafted hits. But tracks like “Teary Eyes” and “Champagne Problems” trade in the kind of basic, repetitive hooks that have lamentably become de rigueur in mainstream pop. Though “Daisies” aims for euphoric, “Teenage Dream”-style heights, it never quite reaches them, and the success of “Not the End of the World” rests almost entirely on a melody lifted from Steam’s 1969 hit “Na Na Hey Hey Kiss Him Goodbye” and the track’s similarities to Perry’s own “Dark Horse.”
The quiet, subtly of “Resilient” lets Perry’s vocals carry the weight over an intricate orchestral synth arrangement. “Look at me now/ Light up the room,” she sings with clarity about the journey back to finding herself. “Not The End Of The World” is a throwback to the more musical high-drama that falls somewhere between Prism and Witness. The track packs a major punch in just under three minutes, with Perry offering advice on how to push through the most desperate times. “What a time to be be alive” Perry sings. It’s something just about everyone can relate to these days.