Shakira: Shakira

The Colombian chameleon’s new eponymous album sees her ditching the squelchy Latin beats of her last English-language album, in favor of dipping her toe into country, ska, rock, and EDM.



Label: RCA
US Release Date: 2014-03-25
UK Release Date: 2014-03-24

Shakira on paper shouldn't work. To call her voice unusual would be an understatement. Her songs are just plain weird. Her musical style and influences vary wildly, and not just from album to album, but within albums as well. That's not even mentioning her lyrics and half the time you don't even know what she’s singing about, even when she's singing in English. However, you don't manage to have a music career spanning almost 25 years without having something special, and whatever that is, Shakira has it in spades. The singer's unique charm, instantly recognizable voice, and quirkiness allow her to carry off even the most plain of tracks, whilst her obvious love for all types of music allows her to pick and choose the styles which suit her.

The path to her tenth studio album hasn't been the easiest. Even as far back as November 2011, Shakira announced that she was working on material for her new album, however her pregnancy and role on the talent show The Voice meant that the creative process was delayed somewhat. Shakira's original lead single was planned to be "Dare (La La La)" (originally titled "Truth or Dare"), but in the end her record label RCA decided to opt for the Rihanna-assisted "Can't Remember to Forget You".

Never one to rest on her laurels, Shakira has chosen to experiment with a new ska-influenced sound, a style which hasn’t really been mainstream since No Doubt's peak of popularity (and even they can't pull it off any more, as evidenced by their flop comeback album Push and Shove in 2012). The song is slightly spoiled by Rihanna's appearance. It's not that Rihanna doesn't do herself justice on the track, but the combination of the two pop divas is such a blatant commercial move by RCA, who were clearly trying to cash in on Rihanna's bankable star power whilst simultaneously ensuring that Shakira had another smash lead single. It's understandable why they chose to do this however, as it is not unknown for Shakira's lead singles to flop disastrously: "Don’t Bother", the lead single from Oral Fixation Vol. 2, bombed at a lowly 42 in the US and the project was only saved by the addition of the infectious "Hips Don't Lie".

Similarly, She Wolf failed to crack the top ten in the same market, so there is precedence for these desperate measures, especially taking into account her long absence from the music scene. But one listen to the Spanish version of the tracks "Nunca Me Acuerdo de Olvidarte" confirms that Shakira could have easily carried off the tune on her own. The track sounds immeasurably more organic, especially for music fans who are beginning to feel suffocated under the weight of EDM behemoths Calvin Harris and David Guetta. The single itself was literally assured global success and while it hasn’t been a hit of "Hips Don’t Lie" proportions, it managed to set the album up quite nicely to become Shakira's highest peaking album on the Billboard charts, at two. Job done.

Disappointingly, commercial greed rears its ugly head again later on the album on the Dr. Luke-produced "Dare (La La La)", which sees Shakira giving in to pop trends for the sake of a worldwide smash. The song is obvious single and the World Cup version, which can be found on the deluxe edition of the album, is a blatant attempt to repeat the success of "Waka Waka". Nevertheless, it does feel like the big single she needs to return to the top after the tepid commercial performance of "Can't Remember to Forget You".

However, it's not all bad news and there is plenty of Shakira's signature attitude to be enjoyed later on the album, despite the variation of styles. The country ballad "Medicine" sees Shakira warbling over folk guitars with fellow The Voice judge Blake Shelton. It's a strange move, but Shakira somehow manages to pull it off with the two voices blending beautifully in a way which nobody could have predicted. Similarly, on "Cut Me Deep" and "You Don’t Care About Me", Shakira proves that the ska formula employed on "Can’t Remember to Forget You" has a more than one song shelf life. "You Don’t Care About Me" is a sassy kiss off to former boyfriend Antonio de la Rua, who tried to sue the singer for $100 million, with lyrical themes reminiscent of 2005's "Don’t Bother", whilst "Cut Me Deep" sees the Colombian channeling Damien Marley. Scorn never sounded so good.

"Spotlight" and "Empire" are the rockiest tracks here and might even surprise a few people. The stomping bombastic "Empire" sees Shakira going back to her rock roots and "Spotlight" is a throwback to early Avril Lavigne or Kelly Clarkson. In the hands of either of these artists would have probably been a massive hit, even with the lyric "Lazy for a while / Laying golden eggs."

This is also Shakira's most mature album to date, containing a surprisingly amount of ballads. Motherhood seems to have brought out Shakira's soft side on the charming "23", an ode to her boyfriend Gerard Pique, and on the heartfelt "Loca por Ti",a translated version of Pique's favourite Catalan song, "Boig per Tu" by Sau. It's clear that Shakira is loved up with her beau Gerard Pique and her newly born baby Milan.

All in all, Shakira manages to show the singer's versatility and reconfirm her status as a pop force to be reckoned with. It's a shame that she feels she has to bow to record company pressure, but that doesn’t mean that there isn't plenty to enjoy on Shakira and the variation of styles means that the album is never boring.


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.