Album Review: Selena Gomez Bares All & Shows Mature Side on "Revival"

Selena Gomez has grown up. If that wasn’t evident from her recent singles, “Good for You” and “Same Old Love,” Gomez’s album release of Revival cements the singer’s plummet into the life of a grown woman. The album cover itself argues this message, as it is Gomez posed completely naked. The album includes “Good for You” and “Same Old Love” as well as twelve other sexual, empowering tracks that create a Beyoncé-like twist to Gomez. There is a combination of fast and slow paced songs, but the general tone is pop-infused backbeats with playful lyrics. 

Gomez’s first stand out track on the album is “Revival.” It begins with a monologue from Gomez herself, stating, “I dive into the future, but I am blinded by the sun. I am reborn in every moment, so who knows what I’ll become.”  The song’s message is exactly what its title states: Gomez’s revival. Whether she means literally due to her hiatus from music back in 2013 that fans now know was due to her lupus diagnosis, or figuratively as a pick-me-up call to action, Gomez demonstrates a desire to continue her journey. It is imminent that this song begins the album, as it sets the tone for the remaining tracks.

Attention to the other side of Gomez’s album, the sexually charged and the intimate, must be noted. “Body Heat” is one song that includes a Latin-sounding backbeat all about seducing a guy. “All I need, all I need is your body heat right next to me.” Furthermore, Gomez states, “My red lips have found a new obsession.” This is certainly a song to look out for on the club scene because the beat makes for dance-oriented music while the lyrics are fun and free.

“Me and My Girls” is another more promiscuous song that Gomez accomplishes off the album. It’s a powerful combination of a complimentary ode to her friends as well as a tease to men. “I know we’re making you thirsty, you want us all in the worst way, but you don’t understand, I don’t need a man, me and my girls.” This is certainly a track that any girl friend group can blast getting ready to go out or in any social setting. It’s a declaration for love of friends even if men are tempting; “I’m going home with who I came with, and who I came with’s not you.” It screams G.N.O. and also infuses Latin-sounding beats with the saxophone in the background. 

As much as the album includes fun songs such as “Me and My Girls” and “Body Heat,” Gomez still keeps the theme of empowerment alive with “Rise.” The lyrics are about standing up against one’s struggles with inner strength. The chorus repeats the phrase, “You can rise.” With a choral accompaniment in the background, it sounds as if a fleet of people is encouraging the listener to rise. The effect is powerful. Gomez becomes a supporter of her fans through “Rise,” a tool that demonstrates a successful conversation between musician and listener. Musicians have the ability to convey messages, both positive and negative, and Gomez takes advantage of promoting female empowerment in addition to feminine sexuality.

Gomez has beautifully transitioned from a Disney tween star to a gorgeous female role model in Hollywood. Her album, Revival, attains many qualities of other successful female musicians of this era. Her pop sound from previous albums still resonates, but Gomez accomplishes conveying the two important sides of what it means to be a modern-day female: sexuality and strength.

Selena Gomez Announces 2016 "Revival" Tour

(Interscope Records)

New album, new tour- things are looking good for former Disney star Selena Gomez.

The "Good For You" singer just announced that she is embarking on a 41 city U.S. & Canada tour in May of 2016. Tickets go on sale October 17th at Ticketmaster.

See if Selena is coming to a city near you below:

May 6 Las Vega, NV - Mandalay Bay

May 8 Fresno, CA - Save Mart Center

May 10 Sacramento, CA - Sleep Train Arena

May 11 San Jose, CA - SAP Center

May 13 Seattle, WA - Key Arena

May 14 Vancouver, BC - Rogers Arena

May 16 Edmonton, AB - Rexall Place

May 17 Calgary, AB - Scotiabank Saddledome

May 19 Saskatoon, SK -SaskTel Centre

May 20 Winnipeg, MB - MTS Centre

May 22 Toronto, ON - Air Canada Centre

May 23 London, ON - Budweiser Gardens

May 25 Ottawa, ON - Canadian Tire Centre

May 26 Montreal, QC - Bell Centre

May 28 Boston, MA - TD Garden

May 29 Uncasville, CT - Mohegan Sun

June 1 Brooklyn, NY - Barclays Center

June 2 Newark, NJ - Prudential Center

June 4 Washington, D.C. - Verizon Center

June 5 Cincinnati, OH - US Bank Arena

June 7 Charlotte, NC - Time Warner

June 9 Atlanta, GA - Phillips Arena

June 10 Orlando, FL - Amway Center

June 11 Miami, FL - American Airlines Arena

June 14 New Orleans, LA - Smoothie King Center

June 15 Houston, TX - Toyota Center

June 17 Austin, TX - Frank Erwin

June 18 Dallas, TX - American Airlines Center

June 19 Tulsa, OK - BOK Center

June 21 Nashville, TN - Bridgestone Arena

June 22 Louisville, KY - KFC Yum Center

June 24 Detroit, MI - Palace of Auburn Hills

June 25 Chicago, IL - United Center

June 26 St. Louis, MO - Scottrade Center

June 28 Minneapolis, MN- Xcel Energy Center

June 29 Milwaukee, WI - Summerfest

July 1 Kansas City, MO- Sprint Center

July 2 Denver, CO- Pepsi Center

July 5 Phoenix, AZ- Talking Stick Resort Arena

July 6 San Diego, CA- Valley View Casino Center

July 8 Los Angeles, CA- Staples Center

Concert Review: Boston Calling Music Festival Returns for Historic Fall Edition

Hozier played Day 3 at Boston Calling Music Festival on September 27th, 2015 (Benjamin Esakof/Roman's Rap-Up). 

Boston Calling Music Festival was held for its third year this past weekend at Boston City Hall. The weather was nothing short of festival perfection for its biannual autumn 2015 lineup. Though Government Center station is under construction right next to the festival site, the two stages and the City Hall backdrop still nicely framed the enclosed location. 

Boston Calling outdid itself this year in relation to the atmosphere day-to-night. JetBlue made flower crowns with real flora in front of its customers, a beer garden nestled under rows of trees, and lawn games decorated patches of grass near the back of the venue. KIND handed out granola bars as well as flowers to passing festivalgoers. Bubbles floated through the crowd from a machine tucked in a corner of City Hall. Stands, such as Tasty Burger, and Wagamama, kept customers satisfied with quality-made food. During the nighttime, multicolored lights lit up the outdoor sections of City Hall and string of lights hung from trees. The entire atmosphere was extremely enjoyable and laidback – one could feel the happy vibe ebbing throughout the audience. 

Day 1 & 2: 

Friday’s notable performance was Of Monsters and Men – an act that is familiar with Boston Calling due to their performance at Boston Calling Spring 2013. Their performance this fall included their hit, “Little Talks,” that certainly pleased the first-night crowd.

Highlights from Saturday began as the sun started to set. Walk the Moon, Chromeo, and Chvrches all left notable impacts on the growing crowd. alt-J headlined the festival Saturday night with a trippy light show seen through clouds of puffed smoke in the audience. 

Walk the Moon, known for their recent hit “Shut Up and Dance,” set a lighthearted mood for Saturday evening. Lion King’s “Circle of Life” was the band’s entrance song; lead singer Nicholas Petricca emerged with a recognizable hot pink Mohawk. Blue beach balls floated through the crowd. Part way through the set, Petricca commented, “I love Boston people. They’re so sassy.”

The band was an enjoyable transition into Chromeo’s high-energy funk set. The duo turned up the party atmosphere in a now almost-full Boston Calling crowd. Audience members closer to the stage held blue light sticks that ferociously bounced to the beat. Now that the sun had completely set, the lighting and fog machines amped up Chromeo’s set. 

Chvrches followed Chromeo, and their music attained a more electronic/pop rock sound. Their lead singer, Lauren Mayberry, rocked a cute and quirky vibe relative to the lead singer of Florence + The Machine. Mayberry told the audience that the band had not performed in Boston since before their first album came out, so their Boston Calling performance held significance in being back in the city. They performed a combination of songs from their two albums The Bones of What You Believe and Every Open Eye including “Clearest Blue” and “The Mother We Share.” 

alt-J rounded out the Saturday lineup with their headline performance. Their indie rock vibe complimented this fall’s artists for the festival. The energy was high as the crowd filled both sections in front of the stages. alt-J played a favorite, “Fitzpleasure,” as well as others from their most recent album This is All Yours. Though Saturday’s performers were memorable, Sunday’s lineup certainly stole the show for the whole weekend.

Day 3:

Nate Ruess performed Sunday evening. Ruess, known as a member of the band fun, began the string of Sunday’s highlights. Ruess sang multiple notable fun songs including “Some Nights,” “We Are Young,” and “Carry On.” In addition, he performed his hit with Pink, “Give Me a Reason.” Recognizable song after recognizable song created a satisfied audience that enjoyed Ruess’s identifiable, high-pitched voice. Ruess sang in front of a colorful background that promoted his first solo album, Great Romantic, which came out this past summer. This solo album included the hit “Nothing Without Love” that Ruess performed last night. It was a strong opening evening performance.

Hozier was Boston Calling’s strongest performance the entire weekend. The Irish native sang from his 2015 album, Hozier, including the well-known hit “Take Me to Church” that concluded his set. In addition, “Work Song” and “Jackie and Wilson” were strong performances. Hozier’s electric guitar skills and deep, rich vocal sound create his successful musical identity. He even mastered two completely different genre covers: The Beatles’s “Blackbird” and Ariana Grande’s “Problem.” Both were arguably better than the originals. The crowd seemed to cheer loudest for Hozier as he was certainly one of the biggest stars of the weekend. 

Alabama Shakes headlined after Hozier. The band’s soulful rock sound filled the festival area. Their lead singer, Brittany Howard, is breaking American rock band stereotypes as a black woman who can rock harder than many male lead singers on the charts right now. Back up singers and eclectic band members filled out her sound. “Dunes,” from their new album, Sound and Color, is one of their newer songs; it reflects the vibe of the band’s music. Its soulful yet edgy rhythm is catchy and enjoyable. Alabama Shakes perfectly ended the laidback Boston Calling festival, as concertgoers now look forward to the release of Spring 2016’s lineup in the coming months.

Concert Review: Ed Sheeran Brings British Charm to Gillette Stadium; Plays Biggest U.S. Show to Date

Ed Sheeran performed his biggest U.S. show to date on Friday, September 25th, at Gillette Stadium in Foxboro, MA (Benjamin Esakof/Roman's Rap-Up).

Ed Sheeran brought his North American tour to New England this past Friday night, but this was no ordinary show. At his largest venue yet, and his first time playing in an NFL stadium, Sheeran and his openers, British singer Passenger and Atlantic label-mate Christina Perri, gave his fans a special night that none will soon forget.

Sheeran’s shows have a special quality. To fill and entertain an entire stadium full of over 52,000 people, you’d think he’d have to take a page from Taylor Swift’s concert handbook, having a moving stage, dancers, etc. However, that wasn’t the case. Instead, the “Lego House” singer calmly walked onstage adorned in a signature red flannel, acoustic guitar in hand. That obviously didn’t matter to the thousands there to see him, with Sheeran opening by saying “if you’re not [bothering] anyone else, do whatever the f**k you want.” The crowd happily agreed with this statement.

Ed Sheeran performed his biggest U.S. show to date on Friday, September 25th, at Gillette Stadium in Foxboro, MA (Benjamin Esakof/Roman's Rap-Up).

With no backup, Ed was on it own. Using a foot pedal board, he was his own one-man-band. Flawlessly strumming and singing along, Sheeran effortlessly transitioned from sultry hit to sultry hit, with his 52,915 (to be exact) background singers helping him with “Photograph,” “Sing,” & “Lego House,” among the many.

Nearing the end of the show, the British star pulled out all the stops. Christina Perri joined Ed onstage to sing her song “Be My Forever” (which he is featured on), which led the already-hoarse crowd to strain their voices even more, never missing a word. But the fun and surprises didn’t stop there. Chris Martin, lead singer of world-famous band Coldplay, emerged from behind the massive LED panels. Before the fans could even stop screaming, Chris joined Ed in treating the crowd to a once-in-a-lifetime performance: a duet of Sheeran’s “Thinking Out Loud,” and Coldplay’s “Yellow.”

Ed Sheeran has done the unthinkable, something only existing in most performers’ dreams, showing it’s possible to be popular with no flashy dancers or sets, just a really good voice and a guitar. Just a few years ago, he was playing small nightclubs for just a few hundred fans. Today he’s selling out major world-class stadiums & arenas like Wembley Stadium in his home country, and now Gillette Stadium in Foxborough, Massachusetts. 

Well done, Sheeran - you’re a living, breathing example that dreams do come true. 

Album Review: Drake and Future Trade Verses; Release Collaborative Mixtape "What a Time To Be Alive"

"What A Time To Be Alive" album cover (Cash Money Records/ Epic Records).

Drake and Future’s long-rumored mixtape, What a Time To Be Alive, dropped yesterday exclusively on iTune and Apple Music. The mixtape has eleven songs in total, and Drake and Future are the only artists to rap; there are no features. The tone of the mix tape is very mellow and low key in comparison to some of Drake’s other angry lyrics and intense vibes of past albums. Funky electronic beats fill out many of the songs including “Digital Dash” and “Big Rings.” “Digital Dash” in particular contains high-pitched background sound that creates a unique track on the mixtape. 

“Big Rings” is something Drake’s audience, in particular, is more used to hearing as he brags about his rap star status and his entourage, “Cause I got a really big team, and they need some really big rings, and they need some really nice things, better be comin’ with no strings.” Even in the short introduction, Drake creates the persona his fans look for within self-confident lyrics. He states, “Yeah, I know we just signed a deal, but I need my advance on the next one, too. They know Imma be around…” Even though the tone of the Drake and Future’s mixtape is more relaxed with techno-like backbeats than If You’re Reading this It’s Too Late, Drake still brings out his personality within songs like “Big Rings.”

“Plastic Bag” is a song from What a Time To Be Alive that is reminiscent of Usher’s recent “I Don’t Mind” as it discusses the job choice of a stripper. “Plastic Bag” includes a fair amount of both Drake and Future. Future raps in the second half, “Magic City on a Monday. We worship this like a Sunday… Get a plastic bag, go ahead and pick up all the cash. You danced all night, girl, you deserved it.” Though the lyrics certainly carry the stereotypical macho rap persona as does Usher’s song, it also encourages the woman’s job choice as a financial means instead of solely degrading it. 

“Digital Dash” is arguably the most noteworthy song off of the mix tape. This is because of two reasons: as previously mentioned, the high-pitched backbeats are extremely unique; in addition, both Future and Drake have extremely lengthy rap verses that demonstrate both their talents as artists. This is also the first song on the mix tape, so it sets the tone for the other ten to come. 

Future certainly holds his own in the artistic presence of a force as formidable as Drake throughout What a Time To Be Alive. In an exciting articulation of both rappers’ successes, Future tells the listeners in “Scholarship,” “I came out the trenches, I really made it, I come out the gutter, I really made it;” Drake adds in with Future on the hook, “I’m ballin’ outta control.” The feat of this mixtape is extremely impressive closely following Drake’s recent platinum selling album release in February and Future’s album release in July. Do Drake & Future have a platinum selling project on their hands, a second in less than a year for Drizzy? What a time to be alive for these two rap moguls.  

Purchase What a Time To Be Alive on iTunes here.