This week, Lady Gaga got her fourth album with number one Joanne, making her the female artist with the highest number of albums of the decade.
It is enormous! And rightly - Joanne was greeted by critics and listeners. One of the most interesting things about both the record and the newest character Gaga is how it is almost non-existent. For what seems to be the first time in nearly 10 years, the music and performances of the singer are simultaneously stripped, personal and energetic. His Dive Bar touring shows with limited engagement were returns to his footsteps, with Gaga playing small shows in small halls in the same way he did for years. Only now we know who he is and what he can do, and who makes his last incarnation even more special.
As the 2010s progressed, the impeccability that once asked our pop stars lost its luster. We have heard about the grueling realities of boy’s band stardom and have reconsidered our investment in the radiant perfection of solo superstars. Today we celebrate our hero's humanity, whether through the painful honesty Beyonce Lemonade or through Adele's recent revelations about her postpartum depression.
Therefore, it makes sense to see Lady Gaga rely solely on their talent resonated so deeply. Where he could go in the stadiums, spring for special effects, and decorated in the flesh even more, she chose not to (at least
for now). Instead, she is like us: Sweaty, dance, vulnerable, and alive, celebrating her most personal album evoking evocative, unbaked.
She is not the only one to go in that direction. While Gaga used his latest programs for crowd surf in Thresholds, we began to see more and more artists gravitating towards minimalism in the name of keeping it real. The visit of San Pablo of Kenney West sees elevate above the crowd in a scene suspended like a god, but in the end is a man attached to a platform, alone and without Wow factor to do the work for him. Elsewhere in pop, Cara Alessia praise earned by doing something similar, playing their music with "regular" clothes and basing on her words and voice, like Adele, whose joke on stage serves as co-star Of his remarkable voice.
This does not mean that more superior performance styles are dead, or wearing suits or dancing or fireworks from her bra that Katy Perry is a bad thing. (If you want to do that, you dare to dream!) But it is a testimony of what we, as listeners, seem to be envious at this time. When large-scale productions such as the 1989 Taylor Swift tour or on the road tour Encore One Direction (R.I.P.) targeted and exploited our senses, we seem to have begun to question the magic that made these shows worked. Thanks to the accessibility of musicians through social networks or functions behind the scenes, we had the opportunity to look behind the
curtain enough to know the subtleties of the stage of the art and impersonal scale that can be. Now we want to see the actual versions of our heroes.
We want your reality to make us feel less alone, to make our own dreams feel feasible. We want a feeling of intimacy, either knowing that they are on stage with a denim jacket that one of us could buy, or watching them plunge into the masses so that they are there with us, or Listen to open on anxiety or personal struggles with that we can relate to us, like Zayn and Kid Cedi.
This kind of honesty can be a lot ask artists, but creates a real stake in their work. We implore a deeper connection with the musicians, and pay more attention to his music when we get this connection. We want to feel that they are our friends, but never know if this reality is part of a larger, less obviously stenographic personality. Although, for the recording, either surprise or quite legitimate, I am totally in love with Joanne.
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