![]() Even the most hackneyed songs, like the Grease-calibre cheese of “Daydreamin", are lifted by her intonation, and when she really sounds like she believes it, the results are fiery. Though her songs are simple, every time she runs across a repeat phrase, she’ll attack it differently, and her melismatic loops and athletic scales breathe life into even the most staid of lyrics. ![]() Her four-octave range is almost ludicrously powerful, and though it still feels like untapped potential, she has admirable control for a 20-year-old. It’s a cross-generational mess of influences, and all the better for it Grande’s boundless energy means she can power through like no one else, tying hooks into knots with her voice as if it were nothing. It’s a hodgepodge of familiar clichés, from its Britney-esque “yeah yeah yeahs” to the punchy horn riffs that somehow melt into a staggered hip-hop verse. On an album that had a bit of a troubled gestation, the singer switched gears again through its making, opting for a 90s hip-hop soul vibe that awkwardly sits with the more doo-wop-indebted songwriting. Second single “Baby I” is most representative of where Grande is at this stage in her career. That’s no small statement, but Grande is no small talent.
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