For six albums over the course of the last decade or so, Canadian singer-songwriter Abel Tesfaye has inhabited his dark and brooding alter ego, known as The Weeknd. In 2023, he suggested that this album, Hurry Up Tomorrow, would be his final outing with that stage name.

Indeed, the album does smack of finality, all 22 songs of it spanning nearly 90 minutes of dreamy and disconcerting synthesizer-fueled confessions and intro sections. It’s not an easy listen, musically or lyrically. But it is at times a mesmerizing one.

The Weeknd seems to have reached the end of the road, with many songs here focusing on death and a longing to step into that release. We hear harsh profanities at times, as well as some admissions of meaningless sex and despair over broken romances.

But as it progresses, The Weeknd’s focus gets unexpectedly spiritual, with several songs focusing explicitly on God’s grace, mercy and redemption, and The Weeknd’s desire to fully experience those things.

The overall result is a jarring journey, spanning the distance between suicidal ideation to the hope of finding peace with God.

POSITIVE CONTENT

Album opener “Wake Me Up” hints at where The Weeknd will arrive about 21 songs later. There’s a longing for deliverance from spiritual threats (“It feels like I’m dying/Wake me up, these demons/Keep creeping, don’t fear them.” And in a prayer-like moment, he sings, “I’m feeling like I’m paralyzed/Cleanse me with your fire/Open up my eyes.”

“Cry for Me” yearns, “I hope that I live life for a reason,” and admits the isolating emptiness of fame, a theme that turns up repeatedly on the album: “‘Cause the stage too a toll/Been faded on the floor/In this penthouse prison, I’m alone/ … Every time I hit the road, it takes a little piece of me.” “Drive” likewise recognizes “fame is a disease.”

Paralyzed and on the verge of drowning in a bathtub, The Weeknd sings, “Trying to remember everything that my preacher said/Tryna right my wrongs, my regrets filling up my head.” A bit later we hear, “I’ve been baptized in fear, my dear/I’ve been the chief of sin/Washing my soul within/ … Like Paul, I’m the chief of sin.”

“Open Hearts” admits the difficulty of being open to love: “Where do I start/ When I open my heart/It’s never easy falling in love again.” “Given Up on Me” contrasts The Weeknd’s selfishness (“I’ve been lying to your faces, yeah/I’ve been always wasted, it’s too late to save me”) with a desire for salvation (“Save me, save me, save me”) and confusion about why someone (God?) won’t just let him die (“Why won’t you let me sleep?/ … Why won’t you let me die?”). “Take Me Back to L.A.” laments having a numb soul (“Now I can’t even feel the breeze/ … Now I have nothing real left/I want my soul”).

“Big Sleep” seems to voice regret over squandered time (“Well, you used up your borrowed light/And you wasted your borrowed time”) before reciting a version of a common children’s prayer (“Now I lay me down to sleep/Pray the Lord my soul to keep/Angels watch me through the night/Wake me up with light”).

“Give Me Mercy” is so drenched in spiritual language it could practically be sung in a contemporary church service: “Every time I lost my way, I lost my faith in you/Fightin’ my temptations, put my body through abuse/Devil’s tricks with paradise/None of it is true, fighting for you light.” And then this confession and prayer: “Hope that you see me when I’m depleted/Give me mercy like you do and forgive me like you do.” Later, The Weeknd talks about trading sin for grace: “Ghost of my sins passing by/ … Give it all away just to feel your grace.”

“Red Terror” seems to be a message of hope and encouragement from The Weeknd’s mother from the other side of the grave: “Hush, my child, you’re mine/ … You’re still my child, don’t cry/Death is nothing at all, it does not count/I only slipped away into the next room.”

Album closer “Hurry Up Tomorrow” is likewise saturated with prayer, confession and a longing for heaven: “Wash me with your fire/Who else has to pay for my sins?/ … So I sing heaven after love/I want heaven when I die/I want to change/I want the pain no more.”

CONTENT CONCERNS

For all of that positivity, however, we have some significant content issues to deal with here. Five songs include harsh profanity, including f-words, s-words, “b–ch,” “d–n” “h—,” “p-ss” and the n-word.

Sexual references aren’t frequent, but when they show up, they’re harsh and in your face, including a reference to oral sex, a use of the f-word in a sexual context and some leering moments (“Tryna see you with your clothes off” in “Niagra Falls”). That song also includes a line that references getting high before having sex with someone.

Those issues certainly earn the album’s parental advisory for explicit content. But they’re arguably not the most problematic. Throughout “Hurry Up Tomorrow,” we get repeated references to death. The end seems very near in “Baptized in Fear,” where The Weeknd only narrowly avoids drowning in a bathtub: “I fell asleep in the tub, I was there with paralysis/ … Water fill my lungs, vision blurry/Heartbeat slower, heartbeat slower, heartbeat slower.”

In “Reflections Laughing,” we hear, “If you let me drown/I’ll die in your arms again.” Likewise, “The Abyss” is possibly a man’s thoughts after jumping off a high place but before he hits the ground (“I don’t like the view/From halfway down/Just promise me that it won’t be slow/Will I feel the impact of the ground?”

And “Without a Warning” likewise laments the vain emptiness of fame and perhaps hints at suicide: “I don’t suppose tomorrow’s coming.” And the song’s most problematic track, “Timeless,” includes profanity, drug references and this line encouraging someone (it’s not exactly clear who) to take his or her life: “If I was you, I would just cut up my wrist.”

ALBUM SUMMARY

It’s safe to say that, in the words of Taylor Swift, The Weeknd has “a lot going on at the moment.” Confessional prayers for mercy smack up against harsh profanity and, more darkly, allusions to death and suicide.

Some of those spiritual moments are, frankly, quite remarkable. Somewhere along the line, it seems as though Abel Tesfaye has had an experience of Christian theology of sin, grace and redemption that goes deeper than we normally see in popular music. Those moments here were a pleasant surprise.

That said, I can’t help but wonder that, when people listen to this album, which of its messages will be stronger: the spiritually redemptive ones, or the darker musings about death and suicide. For someone in a vulnerable place, it wouldn’t be hard for me to see how this album could tragically open an inviting door to self-harm instead of pulling someone away from those choices and giving him or her hope.

I’m reasonably sure that Tesfaye—and perhaps some in-the-know superfans, too—might balk at that suggestion, saying that I’ve missed the point of the dramatic persona he’s created and what he’s trying to accomplish through this character. But in a world where adolescent rates of anxiety, depression and suicidal ideation are currently at historic highs, I’m not sure every vulnerable listener is going understand that artistic intent—even if there are some strong redemptive moments woven into the lyrics as well.

When an artist says, “If I was you, I would just cut up my wrist,” he needs to acknowledge that some unstable listeners might just take him up on that suggestion.

The post Hurry Up Tomorrow appeared first on Plugged In.

His follow-up to 2023’s wildly successful debut, I’ve Tried Everything But Therapy (Part 1), doubles down on Swims’ strengths. Namely, his genre-busting style paired with earnest, vulnerable and confessional lyrics. Teddy doesn’t look or sound a bit like Taylor Swift. But his songwriting style borrows from her approach, even if it’s unintentional, by blurring musical boundaries and inviting fans to relate to his heartbreak, his struggles and his occasional triumphs.

Stylistically, Swims’ sound simmers like a big ol’ pot of savory gumbo, with lots of ingredients. At times, his soulful, smoky voice recalls Adele’s powerful pipes. Other times, a bit of CeeLo Green sneaks in. Is he country? Pop? R&B? Neo-soul? The simplest answer is yes.

Perhaps a bit like Jelly Roll, both stylistically and in terms of his face-tatted appearance, Teddy Swims defies easy categorization. And that, perhaps, helps explain his massive appeal: His breakthrough hit “Lose Control,” which Plugged In reviewed almost a year ago, remains in the Top 10 on Billboard’s Hot 100 mainstream hits chart, having logged a whopping 75 weeks there as of this writing.

Listening to Swims’ latest 13-song album, it’s not hard to understand his appeal. But some elements to his emotional storytelling need to be approached with caution.

POSITIVE CONTENT

Swims sings, really, about just one subject: romance. This album treats us to the good, bad and ugly in that thematic arena. On the positive side, “Not Your Man” wisely recognizes that he needs to walk away from a reckless, deceptive woman, and not to look back: “This ain’t how you treat somebody you say you love/ … I’m not your man.”

“Bad Dreams” recognizes that a woman helps Swims keep his inner shadows and struggles at bay: “Without you/I keep slippin’ into bad dreams.”

A couple of tracks sing the praises of a woman’s committed love, with Swims even wondering how he got so lucky: “You’re so beautiful, spiritual, more like a miracle/Part of me’s scared that you might be invisible/Too good to be true,” we hear on “Are You Even Real.” Likewise, “Black & White” finds him willing to let down his defenses and take a chance with someone special (“You’re the first one I told the truth to/Something’s changing inside of me when I look at you”)

“Northern Lights” fondly reminisces about a long-lost love. “Guilty” gushes that Swims is guilty “of having only eyes for you.” More sweet sentiments turn up in “If You Ever Change Your Mind,” “Hammer to the Heart” and “She Loves the Rain.” The latter finds Swims singing, “[She] finds the beauty in broken when no one else can see/Well, maybe I got a shot of her seeing good in me.”

CONTENT CONCERNS

Despite quite a few earnestly romantic moments throughout the album, we hit a few rough patches, too—and one song in particular that we need to unpack.

Perhaps in an effort to reach a broader audience, the song “She Got It?” (featuring collaborations with Coco Jones and GloRilla) packs in more explicit problems that the rest of the album’s other 12 tracks. The song finds Swims crudely objectifying a woman’s backside (“Two first-class tickets just to fit that a– in/ … Can’t buy this honey, and that s— ain’t free”). Later he adds, again blending leering lyrics with harsher profanity, “It’s so g–d–n beautiful/And you need two hands when you hold it.” Guests Jones and GloRilla pack in more still more suggestive lyrics and profanity, including uses of “b–ch,” “a–” and a couple more s-words.

Also problematic is the song “Funeral,” which plays with imagery blending sex and death: “Put that poison on your lips/Baby, take it slow/Lying in your arms/What a way to go.”Mildly suggestive references to sharing a bed, getting tangled up in sheets and being wowed by a woman’s body turn up in quite a few tracks, such as “Funeral,” “Are You Even Real” and “Hammer to the Heart.” Likewise, we get some passing references to drinking and getting high on the tracks “Black & White” and “Guilty.” And a smattering of mild profanities, such as “h—” and “d–n,” turn up as well.

ALBUM SUMMARY

Teddy Swims neither looks nor sounds like your typical pop superstar. But his passionate, personal music—often about love gone wrong, or (occasionally) right—obviously connects with a broad fan base.

In terms of content, this album represents that classic glass half-full, glass half-empty conundrum. It features some introspection, some tenderness and what seems to be a genuine longing for lasting love.

But then you’ve got some decidedly toxic stuff to slosh through as well, especially “She Got It?” Whereas most of the album’s problems are relatively tame by 2025 standards, that track revels lustily in objectification, with a surprising of harsh profanity tossed in, too.

The latter song certainly tempers my temptation to heap too much praise on Teddy Swims’ latest effort. There’s some nice stuff here, both musically and lyrically. But there are some nasty elements to steer clear of, too.

The post I’ve Tried Everything But Therapy (Part 2) appeared first on Plugged In.

Crafted to the highest standards of sound, lyrics, and production design, Tyler’s  albums require several listens to fully grasp the depth and nuance of his self-referential work.

Tyler often designs alter-egos and characters to masquerade behind in a parade of violence, drug use, and sexual debauchery. Through its music videos and extravagant promotion, CHROMAKOPIA continues this trend, while also featuring his trademark profanity, descriptions of murder, rape, and mental instability.

But you don’t need several listens through CHROMAKOPIA to grasp the album’s sheer, unremitting vulgarity.

To readers familiar with Tyler’s history this should come as no surprise. After all, this is the same artist who was banned by the U.K. and New Zealand for “posing a threat to public order and the public interest.”

Both nations cited the rapper’s dangerous alter-ego and lyrics containing references to murder, rape, sexual abuse, and drug use, and lyrics that glamorize these behaviors.

The themes at play across CHROMAKOPIA range from relatable questions about parenthood and discovering one’s true identity to more troubling ideas about paranoia and suicidal ideation that give credibility to these nations’ concerns.

Yet, something about his music resonates with audiences. 

The violent nature of CHROMAKOPIA does little to push away mainstream critics and fans. Tyler’s growing fanbase clearly connects with his brand of profane introspection.

What has been true of his previous albums remains true here. It is easy to notice that beyond the facade of Tyler’s creations, the way he handles life’s difficulties reveals a wounded soul in search of relief who ultimately ends up consumed by his inner turmoil.

POSITIVE CONTENT

Tyler, The Creator’s absent father has been hanging over the lore and themes of his music for more than a decade now. At once a symbol of both his anger at his upbringing and motivation to change his family’s history, his father’s absence fuels several songs across CHROMAKOPIA.

Entering his mid-30s, Tyler seems as though he is having an early midlife crisis. On several tracks, he mentions friends getting married and starting families. He feels left behind and alone. His family history weighs on him, as well as the pressure to change the trajectory of his life. “Take Your Mask Off” features Tyler at his most honest, pleading with his alter-ego to take his mask off and be honest about who he is.

Nearly each song mentions the role and value of family in Tyler’s life, which is made clear on its opener, “St. Chroma,” as well as “Hey Jane,” which discusses the possibility of how to move forward after an unplanned pregnancy.

The first voice heard on the album is Tyler’s mother, Bonita Smith. She is featured throughout the album as a guiding voice of advice and wisdom in Tyler’s life. Her first words on the track, “St Chroma” are initially encouraging, “You are the light. It’s not on you, it’s in you.”

CONTENT CONCERNS

Any sliver of hope that Tyler’s mother’s encouragement will outweigh the profanity in this album quickly disappears in her third sentence. Her initial encouragement quickly becomes tainted with a call for violence mixed with every combination of the f-word imaginable.

Across the album’s 14 songs, hundreds of f-words and racial slurs, as well as combinations of the two, appear in his lyrics.

“Sticky” features Tyler rapping about his fame and warning others of the difficulties that come with popularity. He repeats the phrase “B–ch, it’s gettin sticky” throughout the song, referring to how things get messy when you become famous. The phrase also serves as a double entendre for sex and drugs, with further lyrics underlying the connection.

“Judge Judy” contains several vulgar descriptions of sex with multiple partners.

“I Killed You” starts with an X-rated version of the children’s song “Wheels on the Bus” and quickly turns into a profanity-filled tirade against nameless individuals who don’t let Black people express themselves in public. Addressing his critics, Tyler repeatedly says, “B–ch, I killed you,” inviting listeners to join him in his opposition.

“Thought I Was Dead” continues this trend with the repeated refrain, “You n-ggas thought I was dead” referring to Tyler’s ongoing public persona in the rap industry and the criticism he receives from listeners.

“Noid” reveals his ongoing paranoia regarding his relationships or having an unwanted pregnancy. He says, “Never trust a b–ch, if you good they could trap you./So just strap it up, fore they f— around and strap you, b–ch.” “Hey Jane” continues on the topic of unwanted pregnancy referring to abortion as Tyler raps, “Look, Jane, it’s your choice at the end of the day./Just know I’ll support either way, no pressure.”

“Darling, I” unveils how little Tyler, The Creator thinks of commitment when it comes to relationships. He sings, “I love this girl, I hit the gold mine,/I’m thinkin new crib, I’m thinkin two kids, / Until I get infatuated with a new b–ch.”

“Take Your Mask Off” is a song centered on Tyler criticizing the hypocrisy of several figures in religion, namely Christians and pastors who preach messages of hope and grace and, in his perspective, offer the opposite to their followers.

Several songs contain references to giving and receiving oral sex as well as other sexual acts in ongoing relationships with several partners.

ALBUM SUMMARY

CHROMAKOPIA opens and concludes with the same line: “The light comes from within.”

Listening to Tyler, The Creator grapple with his fame and relationships clearly reveals an aching soul.

On his recent albums, Tyler has expressed anger and confusion towards those who do not understand him and would otherwise see him fail in his career. It is on this album that he claims to have finally discovered the light that will satisfy him.

CHROMAKOPIA unveils a Tyler who, in his own words, is “chasin a ghost.” At times, that ghost is an idealized version of himself, and other times, the ghost is Tyler’s absent father who has hovered over him for his entire life.

The song “Like Him” features Tyler’s mother revealing why she has kept so much hidden about Tyler’s father. She admits that Tyler’s father actually “wanted to be a father” to him, and that it is her fault for keeping him away from Tyler for so long.

After this revelation, it is unclear if Tyler, The Creator truly wants to be reunited with his dad. These songs are his attempt to continue to sift through his feelings and philosophies about what it means to live in this world.

Ultimately, his messages should be concerning.

If CHROMAKOPIA is any indication, Tyler, The Creator is still searching. In reality, the light that he claims to have found only produces more hate and anger, unleashing some of his most vile remarks about love, family, and relationships.

The post CHROMAKOPIA appeared first on Plugged In.

Following a summer where her early release singles, “Espresso” and “Please, Please, Please” dominated streaming charts, Carpenter’s Short n’ Sweet is an album that delivers on half its premise.

Clocking in at a crisp 36 minutes, the album is certainly short. However, its overall messages of how to handle breakups and relationships are anything but sweet.

Both a wordplay on her physical height and the length and quality of her relationships, Carpenter’s Short n’ Sweet is stuffed with so many double entendres it would make her previous tour partner, Taylor Swift, blush. Unfortunately for the listener, the album’s title remains the tamest pun throughout its runtime.

Backed by the smooth sounds of what’s known as TikTok pop, the album’s descriptions of romantic escapades, sexual innuendos, and overall excess become overwhelming.

Carpenter wants you to know she’s grown up. But there’s a big difference between getting older and growing more mature.  

POSITIVE CONTENT

It’d be hard to listen to Carpenter’s songs and question her self-confidence. As Plugged In has covered on her two number-one hit singles, when she enters a relationship, she’s well aware of what she’s looking for in a potential partner.

Equally so, Carpenter has a knack for self-reflection, albeit she often focuses on everything that went wrong and blames others instead of taking responsibility for her actions. Yet, songs such as “Sharpest Tool,” “Dumb & Poetic,” and “Juno” show how much time she has spent processing the outcomes of her relationships. And that’s positive … right?

In “Lie to Girls” Carpenter tells her partner that he doesn’t have to lie to himself or change who he is to get the approval of others.

CONTENT CONCERNS

Carpenter spends 12 songs crafting her reports from the front lines of her dating experiences. Each account is packed with profane summarizations of last night’s sex and how to get revenge on her exes.

“Taste” opens the album with a knowing admission of her partner’s infidelity saying, “I heard you’re back together and if that’s true/You’ll just have to taste me when he’s kissin you.” (Carpenter says she’s bisexual, by the way, which may help explain the implicit reference to a same-sex relationship here.)

“Bed Chem” contains the album’s most vulgar innuendos and sexual descriptions. When discussing their chemistry in bed, Carpenter sings, “I bet we’d have really good bed chem/How you pick me up, pull ‘em down, turn me ‘round…” and also references various sexual positions, “And I bet the thermostat’s set at 69.”

In “Good Graces” Carpenter warns future suitors to “Stay in her good graces” or else she’ll “Switch it up so fast/Cause no one’s more amazin’/At turnin’ lovin’ into hatred.” The song also features the repeated vengeful chorus: “I won’t give a f— about you.”

“Slim Pickins” opens with Carpenter singing, “Guess I’ll end this life alone” because there’s no guy out there worthy enough to be with her. She later says, “Oh it’s slim pickings/if I can’t have the one I love.” After misusing the name of Jesus, she also says, “And since the Lord forgot my gay awakenin’/Then I’ll just be here in the kitchen / Servin up some moanin’ and b—hin’.”

In “Dumb & Poetic,” Carpenter sings about how the guy she’s chosen to have sex with is addicted to drugs (mushrooms in this case) and also says that he, “F— with my head like it’s some kind of fetish.”

In “Sharpest Tool” Carpenter recounts how her ex has cheated on her, while also comparing sex to the experience of knowing God. “Lie to Girls” contains the line: “It’s lucky for you/I’m just like … the girl outside the strip club getting her tarot cards read.”  

“Juno” serves as a sly reference to the 2007 film of the same name in which a teenager navigates a pregnancy. Carpenter puts a twist on the narrative, by saying, “If you love me right, who knows?/I might let you make me Juno.” It’s a concerning portrayal of how little she thinks of sex and the gift of pregnancy.

A majority of the album’s songs also feature various uses of profanity and misuses of Jesus’ name. There are also several references to masturbation and “jacking off” across the album. Several of the song’s choruses mimic sexual sounds as well.

ALBUM SUMMARY

Sabrina Carpenter would be the first to admit that anyone is capable of both breaking someone’s heart and getting their heart broken. She’s honest about her dating history. But she spends the majority of this album also playing off more serious concerns about cheating, lust, and pregnancy with cheeky humor and sarcasm.

It’s clear that Carpenter has yet to take any of this seriously.

Listen closely to Short n’ Sweet and it doesn’t take long to discover one of the more well-disguised productions of sexual vulgarity and profanity masquerading as a picture of summer pop escapism.

Carpenter might be right about the need to escape something. But in this case, it’s the harmful cycle of meaningless sex and destructive relationships she should avoid rather than encouraging others to dive headfirst into the promises of Short n’ Sweet.

The post Short n’ Sweet appeared first on Plugged In.

He goes by his stage name Swims, which is an acronym for Someone Who Isn’t Me Sometimes, while Teddy refers to the frame of his youth. 

Swims was born as Jaten Dimsdale in Georgia back in 1992. He grew up a multi-talented young man, playing high school football and then finding his true passion for singing in musical theater. For Swims, it was a joy to work on his vocal technique as he constantly experimented with music of all genres, from rock to soul to R&B. 

After that, he sang in multiple bands; but his real claim to fame came in 2019, thanks to his YouTube channel. There, he began putting out covers from a range of genres, dipping his toes into many melodic waters.

And now we’re back in the present. 

Swims’ track “Lose Control,” from his debut album I’ve Tried Everything But Therapy, continues to climb the charts. It’s currently sitting at No. 2 on Billboard’s Hot 100. It’s being played all over TikTok and Instagram. It’s everywhere. 

I’d venture to say it’s because this man can sing. Seriously. He doesn’t need an ounce of Auto-Tune or any editing. And in “Lose Control,” his powerful vocals call out to a woman who brings out both the best and worst in him. 

POSITIVE CONTENT

“Lose Control” has introspective moments, as Swims wrestles with his “addiction” for his lover, realizing that they’re not the best for one another. 

Swims feels trapped by his desire (“Feels like the walls are all closin’ in/And the devil’s knockin’ at my door”) and doesn’t know what to do in his solitude (“It’s takin’ a toll on me, tryin’ my best to keep/From tearin’ the skin off my bones”). 

But despite this woman’s apparently negative influence on him, Swims would still rather be with her … 

CONTENT CONCERNS

… and that’s what he’s wrestling with in this song. He admits that he has no self-control without her (“I lose control/When you’re not next to me/ … You make a mess of me”). He equates his desire to a drug addiction (“Problem is, I want your body like a fiend, like a bad habit/… I want that real full moon black magic and it takes two”) that can only be solved, it seems, in bed (“And I need some relief, my skin in your teeth/Can’t see the forest through the trees …”). 

TRACK SUMMARY 

Swims is known for singing about a wide range of topics, such as heartbreak, codependency, sex, substance abuse and alcohol. 

At times, he’s got intuitive psychological insights that are worth noting. And we hear some of those in this song. 

And man, can he sing, as I noted above. There’s just something about real singing. Real music. Real talent. You can feel it in your bones. In my opinion, Teddy Swims has that kind of real  talent.

But let’s not confuse his artistic capability with being family friendly. Because this song certainly isn’t. It’s primal, graphically sensual and deeply problematic as Swims wrestles through a codependent, toxic relationship as strong as drug addiction itself.

The post Lose Control appeared first on Plugged In.

Let’s travel back to give you the full picture.

Monét loved music from a young age, moving with her family to Sacramento, California, where she sang in the church choir, formed a dance group in junior high and participated in a performing arts program in high school.

After graduating, she got picked up by Atlantic records–not just for her singing, but for her writing skills. Afterward, her career just continued to move forward, opening for the group Fifth Harmony, R&B singer JoJo and, ultimately, Ariana Grande.

Meanwhile, Monét released several EPs, wrote for many famous artists, had her first child in 2021 and then, in 2023, released her debut album called Jaguar II. And it’s from this Grammy-award winning R&B album that we get the single we’ll be discussing today: “On My Mama.”

This catchy song has been featured on platforms such as TikTok and Instagram, and it finds Monét being confident in who she is. But she expresses this confidence in profane, overtly sexual and arrogant ways.

POSITIVE CONTENT

There’s nothing wrong with Monét’s confidence (“I look fly/I look good”). There’s nothing wrong with Monét appreciating her body or admiring her own looks. While you can obviously go overboard on self-admiration, I’d argue that being able to say all these things adds to a healthy body image.

But how Monét expresses these things matters.

CONTENT CONCERNS

She credits her self confidence to her mom (“When they say “She get it from her mama”/I’ma say, “You f–king right”), adding that she’s “done being the humble type” and plans to–vulgarly–flaunt all she’s got, along with others who are doing the same.

Her goal is to live life to the fullest (“Tell me, is you down?/’Cause I’m tryna go up tonight”) and obtain all she wants and feels she deserves (“I just want to live in a fantasy/I think we deserve it, right?/…Permanent ecstasy/Ladies is pimps tonight”).

And of course, she also talks a lot about her sex life (“sex game so stupid/…Might be too fine to hit it from behind”) .

The goal for Monét is to do what she wants and let people know that she looks her best while it’s happening.

The video for this track is really just Monét and friends dancing around in various places, all while wearing bras, exposing plenty of cleavage, sporting crop-tops and even wearing jeans that expose the sides of Monét’s thong.

TRACK SUMMARY

I look good. I smell good. I am good … in all areas of my life.

This is the gist of Monét’s track.

It’s nothing new. Not in music and certainly not in the world of R&B, rap and hip-hop.

Sure, it’s catchy. It’s all over social media platforms as people dance along. It’s popular.

But we all know that popular doesn’t always mean “good.” And in this case, that’s certainly true when it comes to this profane, sexually charged and arrogant single.

The post On My Mama appeared first on Plugged In.

If you don’t know Willow from her 2014 release, “Whip My Hair,” perhaps you know her as the daughter of actors Will Smith and Jada Pinkett Smith. Or maybe you know her simply from listening to her five albums and numerous singles. 

Either way, this 23-year-old woman is talented, and she’s not afraid to break boundaries; she’s constantly mixing genres and experimenting with various sounds. This is something she’s doing in her vulnerable new single, “Alone,” which also is the title of her forthcoming album. 

This breathy, off-beat track features a cascading, jazzy sound filled with synth, quintuplet beats and guitar. It’s haunting, ethereal and very personal. It’s both a call to be seen for who she truly is and an expression of Willow’s thoughts as she learns to sit in solitude and process the memories that come in the quiet. 

POSITIVE CONTENT

Willow seems to have come to the end of herself in some ways, and in the best way. She says that she’s “so tired of being a liar, it’s true.” She seems to be at a place where she’s ready to face the truth and admit her shortcomings (“I know I’m no good at this”).

There’s also a very poignant moment here where Willow seems to be searching for something, be it truth or God, that’s outside of herself and her own ability (“When you talk, is it not medicine for us all?/Show me something I cannot define”). 

CONTENT CONCERNS

You can hear Willow’s desperation and loneliness in this track. 

Mostly, you can hear her hopelessness (“Do you see me?/…Do you see me wanderin’/Alone?”) as she wonders about the point of life (“…Please do/What you must cause it’s no use/All of it falls away/In time”). 

The music video features Willow in joggers and a tank top that reveals a bit of cleavage. 

TRACK SUMMARY

This is a short track, running just a little over two minutes. And somehow in that short time, Willow manages to communicate her deep desire to be understood, to heal, to reach for truth and to wrestle with her own thoughts and past hurts (“I’d sure like to think that but nothing is intact/To speak to the wounds that I gavе and I have”). 

Sonically and lyrically, this song is both uplifting and slightly depressing. It shows a deep wrestling with oneself. And I believe that’s reflected in the black-and-white music video, which features Willow, sitting alone, as the camera pans close to, and away from, her face and body. 

While I was watching the music video, I just wanted to hug her. Maybe it’s the mom instinct in me. To comfort someone who seems like they’re in distress.

Thankfully, according to her interview with Rolling Stone, Willow is in a much better place now than she was in the past as she’s learning to work through her traumas. She shares, 

“For Coping Mechanism I was almost never sober in the studio. And for this new album, I was sober for every single recording session. … I feel like my mind state was extremely different.” 

She continues, “When we’re alone, when there’s nobody there to distract us from our own thoughts, we try to run away from it. … But I feel like it’s a really interesting practice to understand and to really see what changes when you don’t try to push it away.” 

This is insightful in a lot of ways. I believe it’s important to learn to sit alone with your thoughts and really process them. And although this song doesn’t “land” on a worldview or any definitive answers, it’s doing the hard work of asking questions. Just be aware as parents that those questions and ponderings occasionally sway toward a depressive state. 

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“Lift Me Up,” written for Marvel’s Black Panther: Wakanda Forever, is a song about finding comfort from loved ones in times of hardship. It’s a fitting theme, since the latest entry in the Marvel Cinematic Universe also deals with grief in the wake of Black Panther star Chadwick Boseman’s tragic death (and, therefore, that of the hero he plays). Through simplistic yet potent lyrics, Rihanna expresses the pain of the film’s characters while appealing to an ambiguous loved one for support.

POSITIVE CONTENT

Because the lyrics are fairly vague, the specific meaning of “Lift Me Up” is left open to interpretation—which is both a good and a bad thing. The lack of context within the song itself means that the listener can apply it to their own experiences with grief and potentially find comfort in it.

“Lift me up/Hold me down/Keep me close/Safe and sound,” Rihanna sings in the chorus. The song emphasizes the importance of seeking out support in times of difficulty (“We need light, we need love”) rather than dealing with it on your own.

CONTENT CONCERNS

While the generic nature of the song’s lyrics might be comforting for some, it could also easily lend itself to negative interpretations. It’s unclear who exactly Rihanna is singing to in search of comfort in her grief; it could be a friend or family member, but it could also be a significant other, in which case the lyric “Hold me when you go to sleep/Keep me in the warmth of your love” could have some adverse implications.

In the music video, which features Rihanna singing on a beach, the singer wears a revealing top. A few scenes from the movie are also shown, one of which includes dancers in midriff-revealing outfits.

TRACK SUMMARY

“Lift Me Up” is a song that gives a voice to those struggling with loss. Because the lyrics are somewhat generic and don’t reference a singular situation, they can be interpreted to apply to the listener’s personal experiences—for better or for worse. Parents should be aware of a few very vague references to intimacy, but overall, Rihanna’s contribution to Black Panther: Wakanda Forever is a touching tribute to anyone in the midst of mourning and a reminder that there are always those around us we can look to for support.

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It’s already the top-selling album of 2022, having moved 1.2 million album equivalent units (a number that combines digital streams with physical albums sold, as well as vinyl). Swift’s latest also garnered the biggest sales week for any album since 2017. And on Spotify, Midnights became that service’s most-streamed album in a single day.

In a world of ever-fragmenting music and entertainment options, Swift obviously still enjoys a kind of old-school popularity very few musicians can match these days. As for the album’s overarching theme, she says the songs are based on “the stories of 13 sleepless nights scattered throughout [her] life.” Those sleepless stories include references to current and past loves, revenge, self-loathing and more.  

And just as avid fans finished listening to the newly released album, they were in for an additional treat. A few hours after releasing Midnights, Swift surprised fans with seven more songs written during her “journey to find [Midnight’s] magic 13 [songs].” That whopping 20-song list comprises Midnights (3am Edition), which takes listeners about 70 minutes to complete.

As the dark of midnight leaves us feeling somber and vulnerable, so too does Swift’s Midnights present itself full of reflections on life, love and self-image. Though Midnights contains a few songs regarding the wonder and beauty of a loving relationship, it also carries with it a number of explicit songs (on par with Swift’s more recent album releases, such as folklore and evermore); occasional references to drugs and alcohol; and topics that touch on manipulation, loss and cheating.

POSITIVE CONTENT

In “Lavender Haze,” Swift sings about ignoring outside influences that might distract her from loving a partner well, and “Snow on the Beach” describes the “beautiful” feeling when two people fall in love with one another.

“Labyrinth” describes how a new romantic interest tries to help Swift overcome past hurts following a painful breakup (“You would break your back to make me break a smile.”). “Sweet Nothing” appreciates the peace a partner can bring while navigating a chaotic world (“Outside, they’re push and shovin’/You’re in the kitchen hummin’).

But relationships aren’t without their struggles, which Swift recounts in “The Great War.” Here, she sings about resisting the impulse to let past relationship experiences sow doubt within and sabotage her current one.

Additionally, “Bigger Than the Whole Sky” reflects on saying goodbye to a lost loved one as well as the doubts and grief we might go through because of it. Based on lyrics such as, “You were more than just a short time,” and “I’m never gonna meet/What could’ve been, would’ve been/What should’ve been you,” many speculate that the song may be referencing the emotional pain of having a miscarriage.

CONTENT CONCERNS

Listeners should be aware that many songs, even some of those referenced in our positive content section, contain explicit language, including the s-word, f-word and “g-dd–n.” Songs containing language are “Lavender Haze,” “Maroon,” “Snow on the Beach,” “Question…?” “Vigilante S—” and “Karma.” Additionally, “Would’ve, Could’ve, Should’ve” contains “d–n” and misuses of God’s name, though because Spotify does not count such words as explicit, the song won’t have a warning next to it like the others do.

Songs deal with negative experiences resulting from relationships. “Question…?” seems to center around Swift hoping an ex-boyfriend hasn’t been able to move on from her. “Mastermind” shows Swift manipulating people in order to get what she wants from them—namely, to love her. “High Infidelity” describes a woman who has an affair as a result of her unstable relationship.

Furthermore, “Would’ve, Could’ve, Should’ve” uses religious phrases to explain the pain she felt in a previous youthful relationship. Many speculate the song references Swift’s relationship with John Mayer when she was 19 and he was 32. The song recounts how the trauma from the relationship still haunts her.

Additionally, a couple songs reference sexual acts. “Paris” mentions “that guy you hooked up with.” “Mastermind” depicts Swift laying “the groundwork” to get a man to sleep with her (“What if I told you/None of it was accidental/And the first night that you saw me/I knew I wanted your body.”)

Though “Anti-Hero” rightly reminds us that we are all broken people who make mistakes, the song’s self-deprecating lyrics offer no solution to its depressing problem, leaving the listener without any hope.

Almost half of the album’s songs reference alcohol and drug use at some point. In “Karma,” Swift refers to that Hindu concept as being a “god.” 

ALBUM SUMMARY

Taylor Swift has never been afraid to write about the harder side of relationships, and Midnights is no exception. But long gone are the days when Swift’s biggest issue was realizing that the white horse just wasn’t coming. With each album, Swift’s music has focused on more adult, mature themes.

Those mature themes aren’t always bad; As some songs on Midnights will testify, Swift writes impactful lyrics that could potentially encourage others to not give up on love and to look at relationships in a realistic light rather than through rose-colored lenses.

But that maturity also comes warranting a mature audience, too. Many of the songs include harsh language, and others make references to sex, drugs and alcohol. Others still discuss the pain caused by cruel people and damaging relationships.

It’s easy to remember regrets and painful memories when we stay up late and get lost in our minds. But just as midnight might be well past bedtime, parents will want to be aware that Midnights just might be too mature for young fans of Taylor Swift to handle.

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Harry’s House boasts several chart-topping songs, with four concurrent Top 10 hits. Styles was the first British solo artist to achieve this feat. And among all British acts, he shares that honor with the Beatles alone.

Sound-wise, the album is bright and smooth. Styles’ relatable reflections carry with them a certain charm, and the songs tell vivid lyrical short stories. That said, Styles doesn’t hold back from including problematic messages and references. Many will find his sexual themes, as well as an apparent preoccupation with drugs and alcohol the most concerning of these problems.

POSITIVE CONTENT

Harry Styles pours his heart out to a woman in several songs, and he makes claims about being in love. 

In “Late Night Talking,” Harry admits he can’t get a particular woman “off [his] mind.” He doesn’t hesitate to take responsibility for his mistakes, and he says that he loves someone deeply in “As it Was.” In fact, he feels like life just isn’t the same without her.

Styles also hopes a young woman who was abused as a child can mature past that trauma in the song “Matilda”: “They won’t hurt you anymore” he promises. Styles seems to be upset by the treatment a young woman is receiving from her boyfriend in “Boyfriends”; and he’s frustrated that she’s “back at it again,” even though she knows better.  

Styles often regretfully references his own poor treatment of women as well as his inability to recognize their value until after the relationship is over—content that could be construed in both positive and problematic ways, depending on a listener’s perspective.

CONTENT CONCERNS

The sexual content of this album is frequent and inappropriate. Seven songs incorporate sexual references or innuendos.

“Music for a Sushi Restaurant” weaves sensuality and sushi together in suggestive ways, as Styles tells a woman that he could “could cook/an egg on [her].” On “Daylight,” we hear him “cursing the daylight” when morning arrives after, presumably, an amorous evening.

“Little Freak” mostly deals with emotional heartbreak but does mention a “wet dream.” Lyrics also call a woman “Jezebel,” a reference to a particularly infamous Old Testament pagan woman. Sexually suggestive lyrics in “Cinema” involve dancing and intimacy.

As the album progresses, it’s clear Styles enjoys sleeping with a woman so much that starts worrying about whether he is “too into [her].” And on the song “Daydreaming,” a woman asks him to  love [her] like [he] paid [her].” Provocative and violent lyrics in “Keep Driving” reference a woman’s breast, as well as a man choking her “with a sea view.” “Boyfriends” includes a lyric about a man thinking a woman is “easy.”

Styles also sings about alcohol and drugs a lot. “Grapejuice” mentions enjoying a “bottle of rouge” with his girlfriend.  “Little Freak” and “Keep Driving” mention wine. Unnamed drugs turn up in “As it Was,” where Sty mentions pills, although it is unclear whether they are medicinal or recreational. “Daylight” and “Keep Driving” mention cocaine. “Cinema” mentions “doses” and the “high.”

Besides generally questionable attitudes toward life and mentions of vague mental health struggles, the only other lyrical choice worth mentioning in this album is his name for the woman in “Little Freak.” He calls her Jezebel, which carries an interesting weight in a Christian context.

ALBUM SUMMARY

Harry Styles seems to feel things quite deeply, which gives his songs a cathartic, emotional element at times. It’s not hard to see why he has so many followers—especially the young, female kind.

But while some of those fans and listeners might be tempted to minimize the album’s problems—there’s no profanity here, they might say in Style’s defense—suggestive and sensual lyrics remain impossible to ignore. Add in references to alcohol and drug use, and Harry’s House becomes a destination families will want their children to avoid.

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