Youll Never Know by Ariana Grande Song Review
"Nasty" proves that Grande's singular vocal ability can elevate any song template.
The dialogue surrounding "Nasty" has focused too much on its filthy premise and non nearly plenty on how much information technology slaps.
The vocal pairs a shimmery, almost-spooky landscape with an elastic trap beat out. Cheers to this ingenious product from The Rascals, "Nasty" bounces and glides. In my first-listen review, I compared its vibe to "a mist that makes you tipsy if you walk through it, or a very glamorous ghost."
Sprinkled with Grande'south coincidental whistle notes, "Nasty" is an effortless brandish of gustatory modality and talent.
That she can sing these horny-teenager lyrics ("Go all the homies to bounciness / Switch from the bed to the couch / And get to know how I'g feelin' inside") and sound positively sky-sent is a testament to Grande's singularity. "Nasty" speaks to her power every bit a vocalist — as well every bit her conviction to stride into any musical terrain, slip on any prepare of lyrics, and ain the room.
Song highlight: "Like this pussy designed for ya" is a brilliantly unhinged phrase.
If you similar this, listen to: "Safety Internet," "West Side"
"POV" is the emotional top of Grande's sixth album, "Positions."
"POV," the concluding song on Grande's sixth album "Positions," is musical dessert. Placed ingeniously at the finish of the tracklist, it leaves yous with a sweet taste and rosy-cheeked emotional fullness.
Unsurprisingly, Grande's vocals are transcendent, particularly in the final verse.
But what's more than, lyrically, "POV" may be the best ballad in Grande's entire catalog.
This song is sentimental and expressive without feeling pretentious ("How you impact my soul from the outside? / Permeate my ego and my pride"); conversational and however poetic ("I'd dear to see me from your indicate of view"). Grande nudges you to remember her past trauma and pain, but remains radiantly hopeful, like a slowly blooming flower.
Song highlight: The rainy sound effects imbue the vocal with a beautifully textured, meditative energy.
If you lot like this, listen to: "Obvious," "Main Thing"
"Thank U, Next" is Grande'southward most iconic song to date.
No one else could have written "Give thanks U, Next."
I do mean that in a literal sense, given the song's intensely personal content. But additionally, on an emotional and spiritual level, simply Grande — at this specific moment in her career — could have channeled this sort of charm and wisdom into a pop song with an inside joke for a championship.
The cliché phrase most catching lightning in a bottle was designed for whatever brilliance coursed through Grande's veins when she recorded this song — and then again when she found the backbone to release it in its most raw, honest form. It literally changed the trajectory of her career, and probably the essential DNA of pop music, for the remainder of time.
Song highlight: Opening a song by name-dropping ex-boyfriends? Instantly iconic.
If you like this, listen to: "Fellow," "Positions"
"Into You" is the perfect pop vocal.
What can I say about "Into You" that hasn't already been said, or at to the lowest degree adoringly projected?
In terms of your classic, about successful version of a "pop vocal" — a vibrant, catchy, open-hearted confection that induces sheer euphoria and/or an irresistible urge to dance — "Into Y'all" is the holy grail.
Song highlight: Grande nails her low register as she purrs that perfect opening line: "I'one thousand so into you, I can barely breathe."
If you like this, listen to: "Knew Improve / Forever Male child"
"No Tears Left to Weep" embodies everything in that location is to love about Grande, both as a person and an artist.
"No Tears Left to Weep" is the kind of song that makes you remember exactly where you were and who y'all were with when y'all heard information technology for the first time.
With its sudden tempo shift and UK garage-inspired shell, the song is weird, particularly compared to Grande's previous work. Releasing information technology as "Sweetener's" atomic number 82 unmarried was a choice — just only in the all-time possible fashion.
"No Tears" is intoxicating, energizing, and bubbly, like a gulp of spiked soda on a hot summer twenty-four hours. It would exist a phenomenal song by any standards, only for Grande, it was also an important moment: The single was her offset release after the Manchester bombing, and instead of retreating into balladry or crooning a traditional tribute, she mourned while she soared.
"No Tears" confirmed that she hadn't lost her optimism or range in the confront of trauma, and solidified Grande equally our modernistic poptimist prophet.
Song highlight: "Correct now, I'1000 in a state of mind / I wanna be in similar all the time." The "like" iskey.
If you like this, listen to: "Rain On Me"
"God Is a Woman" feels like a portal to an otherworldly, feminist paradise.
As I wrote when Insider ranked "God Is a Adult female" at No. 80 on our list of the decade'due south best songs: If "No Tears Left to Weep" was Grande'southward triumphant comeback single, "God Is a Adult female" permit the states know that we really had it all incorrect. "Sweetener" wouldn't just be a comeback: It was a rebirth, the work of a new-age icon approaching her artistic peak — and "God Is a Woman" was its thesis statement.
Generally, Grande'southward futuristic-angel anthology is all-time heard as a consummate experience, with each song playing off and elevating the others. Listening to "Sweetener" feels similar hopping from one cloud to another.
But "God Is a Woman" exists in its own universe, taking a detour across the visible atmosphere and skyrocketing into Grande'south vividly feminine paradise.
Vocal highlight: The choir of Grande voices that closes the song truly brings it to another level.
If yous like this, heed to: "Dangerous Adult female"
"Needy" is the chirapsia heart of Grande'southward best, most intimate album.
Nosotros previously named "Needy" i of the nine best songs released in 2019 — though truthfully, that feels inadequate. It's one of the all-time slow-pop songs in recent memory and easily i of the brightest gems in Grande's catalog.
"Needy" operates on a level beyond lyrics or production; it creates an entire mood, a shift in the temper, behaving more than like an emotional moment or a retentiveness than a song.
Information technology feels like you're sitting with Grande, hearts beating and chests tightened, as she pens a late-dark diary entry. She makes "needy" audio like a curse discussion and a prayer.
Song highlight: The evocative parallel of "Tell me how practiced it feels to exist needed," versus, "I know it feels and then skillful to exist needed."
If yous like this, listen to: "Imagine," "Ghostin"
"R.Due east.One thousand" is shimmering, warm, and brilliantly understated.
Pharrell's glittering production on "R.E.G." does wonders for Grande's style. It allows her voice to remain the focus, but more than sunlit than spotlit. She uses warm and tender tones rarely flexed in her before albums, which tend to stay dominated past (as impressive merely) far less subtle vocal runs.
Hither are some images that leap to mind when I mind to this song: a warm summer breeze; cotton wool processed that doesn't gustation disgusting; the sparkly eyes of anime characters; Monet'southward water lilies. It'southward like scrolling through a very nicely curated Tumblr feed, but for your ears instead of your eyes.
Song highlight: "Alibi me, um... I love you."
If you like this, listen to: "Goodnight n Become," "Pete Davidson"
Lyrically, "In My Head" is undoubtedly one of Grande's strongest songs ever.
There are so many vivid, deliciously intentional details in this song that it's difficult to selection a favorite: the tough love from Grande's longtime friend, Doug Middlebrook; the specific mention of "Gucci tennis shoes," which feels like a subtle jab at Pete Davidson's "scumbro" aesthetic; the Biblical reference to Cain and Abel.
"In My Head" also features some incredibly precipitous production. Information technology seamlessly blends elements of pop, trap, and R&B, hitting hard without feeling obvious or effortful.
Song highlight: The tonal switch in the bridge adds another layer of depth and urgency. Plus, it features the song'south most clever and relatable line: "I saw your potential without seeing credentials."
If you like this, listen to: "Go out Me Lone"
"Get Well Soon" is an amazing creative statement.
"Get Well Before long" is easily the virtually ambitious song in Grande's catalog — and it'south impossible to overstate how magnificently it paid off.
The "Sweetener" anthology closer is a shining example of the singer's artistry. It's truly unlike anything else, both in terms of product and thematic resonance; it shows what she can really do when she'due south unconcerned with traditional vocal structures, focused on healing, and provided plenty of soil to root and bloom.
There is enough depth, nuance, and emotion weaved into the track's 5 minutes to saturate an entire album. And every layer — every celestial chord and hidden harmony and hypnotic "yuh" — is designed to swirl together and feel like a healing feel, a sonic embrace. When Grande chirps, "I'k with yous, I'm with yous, I'm with you," you tin can tell she ways it.
Song highlight: "Yous tin feel information technology, feel it." Considering you really tin.
If you similar this, mind to: "Honeymoon Avenue"
"Be Alright" is a fan favorite, for expert reason.
Although "Be Alright" never truly got its due — a music video, radio promotion, etc. — it'due south impossible to imagine an Ariana Grande concert without a crisply choreographed performance of her most accessibly optimistic vocal.
"Be Alright" is fairy-like, weightless, and an absolutely essential member of Grande's discography; an invaluable element of any Grande-inspired playlist. For this fandom, it's like an organ or a limb.
Song highlight: The subtle, anti-gravity driblet that comes in the chorus, right afterward Grande's first balls that "we're gonna exist alright."
If you like this, listen to: "Sweetener," "Successful"
"Only 1" is timeless.
When Grande performed "But 1" during a live BBC special in 2018, tweets with the video began circulating, many expressing excitement that she'd teased a new vocal.
At present, despite complaints of "locals," it's unfair to expect every fan to know an artist'due south discography top to bottom. What strikes me most about those tweets is how modern, how innovative, how very refreshing "Only 1" would sound if information technology had sat untouched for the past six years and Grande released it for the beginning time today. Or any day, really. It never gets sometime.
Song highlight: The song run in the chorus: "No I can't / BEEeee yoOURr merely one."
If you lot similar this, heed to: "Tattooed Center," "Rule the World"
"Simulated Smile" is a hard-earned reclamation.
"Fake Smile" is a critical favorite from "Thank U, Next," which makes perfect sense given its inspired Wendy Rene sample and edgeless, defiant thesis.
"F--- a faux smile" is hardly a radio-friendly claw, only that'due south the whole point; Grande rejects every expectation of a squeaky-clean pop star, every sexist snicker to "grin more," and reclaims her grief as a triumph.
Song highlight: The interpolation of Wendy Rene's "After Laughter (Comes Tears)," most famously sampled by the Wu-Tang Clan, gracefully highlights the album's debt to soul, R&B, and Blackness artists.
If you lot like this, heed to: "Bad Thought," "Bloodline"
Put but, "Everytime" slaps.
"Everytime" is such a clear notwithstanding underappreciated highlight on "Sweetener."
The song feels like a conversation that you lot'd have with your best friend, or a drunken monologue in the back of an Uber: "You go high and telephone call on the regular / I go weak and fall like a teenager," Grande sings, half-frustrated and half-defiant. "I get drunkard, pretend that I'thousand over it / Self-destruct, evidence upwardly like an idiot."
Gear up to a recklessly fun, trap-infused beat, it's impossible non to get swept upwardly in the whole experience — much like Grande gets swept up in her toxic patterns. It's a hitting moment of self-reflection, and even so, she's not exactly vowing to make a change. She doesn't sound preachy, or defeatist, or pretentiously self-aware. She sounds like a person who's figuring it out and having fun at the same time.
"Everytime" takes a situation so familiar, so relatable for many of Grande'southward twenty-something female person fans, and turns it into a straight-upward banger.
Vocal highlight: I'm a sucker for a vocal with an unobvious song championship. Calling information technology "Back to You" would've stripped some of its magic away.
If you like this, listen to: "Bad Decisions," "Worst Behavior"
"Baby I" is the crown jewel of Grande's debut album, "Yours Truly."
"Baby I" is clearly the product of Grande's early on obsessions and stylistic crutches — erstwhile Hollywood glamour, retro Mariah Carey, a touch of Broadway drama, "Dreamgirls" with a youthful twist — but it however manages to experience dynamic.
While many songs on "Yours Truly" can feel dated, impersonal, or a touch too Broadway these days, "Baby I" bears early evidence of Grande's evolution. She stretches her voice and darts between styles, flitting through a pseudo-rap delivery in the chorus ("Just every time I try to say it, words, they merely complicate information technology") and letting some attitude leak through in the bridge.
Nosotros all know Grande tin out-sing the other girls; her best songs don't only rely on breezy verses and impressive falsetto, but also testify off some gamble and personality.
Vocal highlight: Mac Miller, then just Grande's close friend and collaborator, convinced her to release "Baby I" as her debut album'due south 2nd single, which is only so cute.
If you similar this, listen to: "The Way," "You'll Never Know"
"Thinking Bout You" combines dazzling vocals with atmospheric production.
"Thinking Tour You" was the perfect manner to close "Dangerous Woman," an anthology ostensibly designed to showcase Grande's womanhood. The song acts as a grounding forcefulness, especially at the end of such an eclectic tracklist, and leaves you with a feeling of gravity and maturity.
The cracking power of "Thinking Bout You" lies in its gradual build. The exciting, thumping first poesy gives way to Grande's royal vocals, then to a twinkling chorus. The song moves in waves, finally cresting in the cathartic bridge, which ends similar a flare-up of lightning from an clouded sky.
The song combines delicate melancholia and enigmatic, suggestive lyrics to create a swelling, freeing experience. Whether it's about sex or late-night nostalgia or something else entirely, "Thinking Bout Y'all" is a remarkable feat of particular-oriented production and emotional edging.
Song highlight: The swell of synths that follow and envelop the span's final line: "Merely at least I have the memory."
If yous like this, listen to: "Adore"
"One Terminal Time" feels at once spacious, uplifting, and melancholic.
"I Last Time" is a truly one-of-a-kind song. Similar whatsoever great mid-2010s popular hitting, it boasts a brilliant, confident hook and EDM-inspired synths — simply information technology'due south also an exquisite cocktail of emotion.
It glides and sparkles like a radio-friendly bop, so information technology may leave you lot feeling very hopeful, but could just as easily make you cry. "1 Concluding Time" practically vibrates with sincerity; it'due south like a 3-infinitesimal therapy session.
Of course, the song'due south gravity increased when "Ane Last Fourth dimension" was re-released as a charity single in 2017 to heighten money for the Manchester bombing victims. After Grande and her friends performed the song at the stop of One Love Manchester, fans adopted "1 Last Fourth dimension" equally a symbol of resilience and radical empathy.
Song highlight: Opening a song with a confession, "I was a liar, I gave in to the burn down," is and so tender and admirably assuming.
If you similar this, mind to: "Breathin"
"Focus" is a cheap "Problem" knockoff.
"Focus" is fairly catchy enough, but it'southward such an obvious attempt to recreate the magic of "Problem" that it loses all credibility. It'south but uninspired (and nowhere near as good equally "Trouble").
Worst criminal offense: The guy saying "focus on me" in the chorus is annoying at best and grossly misheard at worst.
Saving grace: I practise love trumpets in a pop song.
"Don't Call Me Angel" should have been so much better.
"Don't Call Me Angel" isn't bad so much as information technology's disappointing. A collaboration between Grande, Miley Cyrus, and Lana Del Rey had so much hope. These are three of the almost powerful and trendsetting voices in music, after all. And withal, they delivered a securely forgettable, uninspired single that suffered even more than thanks to all its hype.
To exist fair, the singers' creative energies were surely stunted by the vibe of the 2019 "Charlie's Angels" motion picture, its themes, and how those were meant to be reflected in the soundtrack — just many artists, especially in contempo retentiveness, have overcome such limitations and delivered innovative, cinematic music regardless. Kendrick Lamar's "Black Panther" soundtrack and Beyoncé's "Panthera leo King" soundtrack both come to mind.
Worst offense: Grande's verse is actually the about wearisome out of the three.
Saving grace: All three women serve some incredible looks in the music video.
"Blazed," featuring Pharrell Williams, had no business being the first real song on "Sweetener."
Williams did some exceptional piece of work with his product on "Sweetener," and he had a major affect on the management of the album; information technology seems clear that Williams helped tease something raw and untested out of Grande that allowed her to create some of the best music of her career.
Unfortunately, the only song that really lists Williams as a featured artist is the most unnecessary three minutes in the entire tracklist. "Blazed" sounds a bit like a watered-down "Sweetener" or a duller "R.E.M." It's certainly not unpleasant, but if "Sweetener" has a skip, it's this one.
Worst offense: Information technology'southward the outset real song on the tracklist after the "Raindrops" intro, which undercuts the overall power of the anthology.
Saving grace: The vocal'southward themes of luck and romantic awe are truly adorable, especially in the kickoff poesy: "vii billion is on the World / Could've been anywhere, merely you're here with me / Should I play lotto? What's it worth?"
Crucial mistakes were made with "The Low-cal Is Coming."
"The Light Is Coming" seems to be a favorite of Grande'due south, and it definitely hits different when she performs it alive — but seemingly pocket-sized decisions threw the studio version of the song completely off track.
Firstly, opening the vocal with Nicki Minaj's verse was a mistake. It automatically puts you in a disoriented land, and Minaj does a poor job of introducing the true essence of Grande's message.
Secondly, and nigh chiefly, having the infamous sample (a human yelling, "Yous wouldn't let anybody speak, and instead!") echo throughout the entire song ruins the listening experience. Once your ears are tuned to information technology, it's impossible to ignore.
Worst offense: If Williams, who produced the track, had put Minaj's verse after in the song (think: "Side to Side") and toned down the use of the sample (like, peradventure one or two uses sprinkled in for effect), "The Light is Coming" could've been a whole bop.
Saving grace: "The light is coming to requite back everything the darkness stole" is a lovely sentiment to build a song upon, especially given "Sweetener's" optimistic, healing tone.
"Bang Blindside" simply doesn't hit like information technology used to.
"Blindside Bang" is such a sore spot for Grande's fans that it's literally become a joke.
It's been reported that Grande "hated" the song when she first recorded it, and it makes sense why; peculiarly now, many years after it was fatally overplayed on the radio, "Bang Bang" feels incongruous with Grande'south fashion and personality.
"i think that sounds really prissy," Grande wrote on Twitter in 2018, when a fan asked nigh the possibility of a combined "Sweetener" and "Thank U, Next" tour. "lots of new materiaaaaal + oldies (the oldies we like). i mean unless yous wanna hear bang blindside once again."
When another fan replied, "Daughter I NEVER WANNA HEAR THAT S--- Once more," Grande agreed: "thank god. can't expect to show this to my squad."
Worst offense: Despite how overplayed and tired it is, information technology'll nonetheless get stuck in your head.
Saving grace: On principle, we dear an all-ladies collaboration.
"Everyday," featuring Hereafter, is a standard trap-pop song with no existent amuse.
"Dangerous Adult female" was released the aforementioned year that Futurity became the fastest solo artist to score iii No. 1 albums on the Billboard 200 in more than than fifty years; soon after "Everyday" was released as a single, he became the first artist in the chart'south history to achieve back-to-back No. 1 debuts in successive weeks.
All this to say: Selecting "Everyday" equally a unmarried was an obvious ploy for attention in a Future-dominated (and increasingly rap-popular-fusion-friendly) radio landscape. I don't think it was selected for its quality, of which there is piffling.
The chorus is irksome, the lyrics are uninventive — and confronting all odds, Future'south contribution makes the song worse, not meliorate.
Worst offense: "He givin' me that good southward--- / That make me not quit." Ugh.
Saving grace: The LGBTQ representation in the song's horny music video.
Even Grande is underwhelmed by "Touch on Information technology."
"Touch Information technology" feels like a filler. It doesn't bring annihilation interesting lyrically; Grande covers similar feelings of longing and animalism and mischief in far superior songs like "Into You," "Greedy," "Bad Decisions," and the anthology's title track.
The production isn't anything to write abode about, either. It's merely generally snoozy, and Grande agrees.
Worst offense: Instead of "Touch Information technology," Grande could've used those four minutes to include both versions of "Knew Better" on the "Dangerous Adult female" tracklist.
Saving grace: "Remind me why nosotros're taking a intermission / Information technology'south obviously insane / 'Crusade we both know what we desire / And then why don't we fall in love?"
"Sometimes" is dull and unremarkable.
"Sometimes" isn't a bad song by whatever means, only it slows the momentum of "Dangerous Woman" and feels out of identify on its euphoric, anthemic tracklist.
The album'south romantic carol quota was already fulfilled past "Moonlight" and "Thinkin Tour You," and both of those songs have more than power in one unmarried verse than "Sometimes" has in three minutes and 47 seconds. Information technology's even followed by a slower, heartfelt vocal: the sultry "I Don't Intendance," which thrives thanks to its jazzy horns and empowered diva message.
Grande doesn't practice much to sell this song, either. She doesn't do anything interesting with her vocals; there'southward no swelling moment of catharsis or rubberband song run to convince me that she's really feeling it.
Worst crime: The sickly sweet "La, la, la, la, la, la, la" refrain.
Saving grace: The live version on the "Dangerous Woman Tour" was really sweet and intimate.
"Intro" was an unworthy album opener that didn't add much of anything.
"Intro" is deadening — evidently and elementary. Unless you're listening to "My Everything" on vinyl, I'g willing to bet that you skip it every time and go directly to "Problem."
Maybe this seems like a bit of a cop-out, but "Intro" is totally fair game. Information technology has original lyrics and vocals, which means information technology's non a non-song, derisive opener (similar Billie Eilish's "!!!!!!!"), and Grande has proven that she can practice a lotin less than two minutes. "Pete Davidson" is one of the nearly exhilarant and compelling moments on "Sweetener," and it'southward even shorter than "Intro."
Worst offense: Grande actually has some other song chosen "Intro" on her "Christmas & Chill" EP, and it's better! It's literally just i infinitesimal and 15 seconds long, and it's a bop.
Saving grace: "I'll give y'all all I have / And zippo less, I promise" is a pretty cute manner to innovate an album.
Grande has said that "Why Try" is her "virtually deadening song."
"'Why Try' is my most boring vocal," Grande said during a "Sweetener" Q&A session with fans. "This song puts me to sleep."
Despite screams of protest from the oversupply, I must say: Same. The song's structure is predictable, the lyrics are repetitive, there'south nothing particularly intriguing virtually its production — and "I'm in love with the pain" is only a horrifyingly toxic sentiment to write an entire song about.
Worst law-breaking: Coming directly later on the emotional experience of "One Last Time," "Why Try" is even more of a permit-down.
Saving grace: Of form, Grande's voice sounds astounding, specially in the final chorus.
"Hands on Me," featuring A$AP Ferg, is literally unlistenable.
I literally can't listen to three seconds of "Easily on Me." Every bit soon equally it comes on — and yous'll know when information technology comes on, because it assaults your eardrums right out of the gate — I cringe. I press skip so fast that it'southward similar my reflexes are being tested.
Worst offense: "You just keep your eyes on my 'y'all know what.'" Are we 12 years old?
Saving grace: I like the idea that Grande is casually friends with A$AP Ferg and hangs out with A$AP Mob (fifty-fifty though Ferg'due south contributions do admittedly nothing to relieve this song).
"Better Left Unsaid" is all over the place.
The beginning of "Better Left Unsaid" almost sounds like a "Daydreamin'" reprise, until Grande switches gears and leans into some deeply misguided EDM-inspired product. The vocal is totally inconsistent; every piece of it feels haphazardly and carelessly mashed together.
Worst crime: The man yelling, "If you wanna party, put your hands upwards" sounds similar a DJ spinning the vocal at a bar mitzvah.
Saving grace: The EDM influences in "Meliorate Left Unsaid" sort of brand information technology sound like a precursor to "Break Free," so if we have this song to thank for Grande's gay anthem, I appreciate that.
"Piano" sounds similar something Cat Valentine would sing at a Hollywood Arts talent show.
Apparently, Grande's goal with this song is to "make yous wanna dance," merely she doesn't succeed. At nigh, I would tap my foot.
"Piano" is then cutesy that it sounds kittenish and insincere, similar information technology was written to fit nicely into an episode of kids' Telly. No boldness to "Victorious," of course — "Take a Hint" really slaps — but those songs don't belong on an Ariana Grande album.
Worst offense: Grande says literally 23 times that it'southward "not hard" to write a song with her new piano, and yet!
Saving grace: The song resulted in this amazing tweet.
"Well-nigh Is Never Enough," featuring Nathan Sykes, is boring and overly cheesy.
We know that Grande likes to write and record duets with her musician boyfriends, merely that addiction usually yields bully songs ("Best Mistake," "My Favorite Part").
"Almost Is Never Enough," on the other mitt, never needed to be. It'southward far too cloying to exist enjoyable, and information technology'southward beneath Grande to release something and then gravely insufficient of intrigue or edge.
Worst criminal offense: Nathan Sykes is hardly Large Sean or Mac Miller. Did he deserve such a prominent, permanent identify in Grande's lore? Probably not.
Saving grace: Reviews of the song apparently made Grande happy at 1 signal.
"Popular Song" makes way more sense for MIKA's discography than Grande's.
It'south totally fair to want an anti-bullying anthem in your discography, especially for an artist like Grande, who began her music career with a young fanbase from Nickelodeon. And the song's interpolation of "Popular" from Broadway's "Wicked" is kinda fun, especially since Grande loves show tunes and so much.
Ultimately, nevertheless, "Popular Vocal" didn't deserve a spot on "Yours Truly." The original version of this song was included on MIKA's 2012 album, "The Origin of Love," and that's where it should've stayed.
Worst offense: Taylor Swift basically wrote this song commencement, and "Hateful" is way better.
Saving grace: I can imagine immature theatre kids playing this and feeling seen, which is cute.
This is an opinion cavalcade. The thoughts expressed are those of the author(s).
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Source: https://www.insider.com/best-worst-ariana-grande-songs-all-time
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