In the past year, artists have been using the period of lockdown as inspiration for their music. Beyoncé’s Renaissance, for example, celebrates the freedom that was once elusive during those stagnant times. Recently, I’ve been listening to albums by Janelle Monáe, Jake Shears, and Jessie Ware that echo this sense of liberation after being cooped up for so long. These albums embody joy, rebelliousness, and even cheesiness, all while embracing queer identities.
The pop genre has always been associated with fun and good times. However, there has been a shift in the vibe, which I believe can be traced back to the “disco revival” that began before the pandemic. Artists like Dua Lipa and Sam Smith capitalized on the demand for nostalgic and inoffensive tunes on streaming services. While they drew inspiration from the nightlife of the 1970s, they were missing the wild and urgent energy of that era. But when the pandemic hit, this rehashed disco suddenly became more relevant. Lipa and others became mental health heroes, providing a way for us to dance while going through mundane tasks.
One standout artist from this disco wave is Jessie Ware. Known for her elegant ballads, she ventured into club music with her album “What’s Your Pleasure?” in 2020. This album brought glamour back to the forefront, breaking away from the constraints of “tastefulness.” The vocals were coyly sexy, the pulsating beats were draped in reverb, and analog instruments were used with an extravagant flair. Queer listeners connected with the album, as Ware was skillfully channeling the influences of gay and Black artists before her.
In her new album, “That! Feels Good!”, Ware continues to explore this realm but with a twist. The success of “What’s Your Pleasure?” gave her confidence and ambition, leading her to create music that is daring and humorous. The album opens with a flurry of gasping voices, setting the stage for a playful and campy experience. Boogying bass lines, spoken-word segments, and suggestive innuendos follow suit. The music is still meticulously crafted, but this time it challenges the listener to fully immerse themselves in the fantasy or walk away. While it may not dominate my daily life like its predecessor, it’s best enjoyed in small doses like laughter-inducing gas.
Jake Shears, a seasoned party jester, has been creating gay anthems for over two decades. As the front man of Scissor Sisters, he channeled the whimsy of Elton John and the Bee Gees. However, he also showed his serious side in his first solo album, “Jake Shears,” a memoir-like collection of orchestral rock songs. The pandemic made him long for the dance floor, and once gatherings were permitted again, he began hosting open-invite parties at his New Orleans home. His new album, “Last Man Dancing,” takes inspiration from these celebrations and discards personal introspection and decorum for a more exhilarating experience.
“Last Man Dancing” fearlessly embraces brazen sonic references, drawing inspiration from iconic songs like ABBA’s “Dancing Queen” and Europe’s “The Final Countdown.” Shears carefully crafts this audacious collage, arranging bold elements to complement each other rather than clash. For example, Big Freedia’s distinct lisp duels with an electro-funk bass line on the track “Doses.” Shears, a talented songwriter, injects lighthearted lyrics with emotional depth, evident in tracks like “Do the Television,” a fictional but strangely touching dance instructional. The second half of the album feels less like individual songs and more like a continuous, body-shaking DJ set.
Janelle Monáe also constructs her new album as a cohesive and danceable experience. Dubbed “The Age of Pleasure,” it captures the spirit of the roaring 2020s. Monáe has been blending R&B, musical theater, and hip-hop for over 15 years, always infusing her music with playfulness. However, she is also a highly intellectual and influential figure, known for her connections with Barack Obama and her appearances in critically acclaimed films. Her previous album, “Dirty Computer,” was a sci-fi concept album that delved into Black and queer survival in the face of oppression. It represented the serious side of pop music that dominated the 2010s.
“Age of Pleasure” strips away Monáe’s pretensions and even her clothing through its provocative marketing campaign. Inspired by the dance parties she used to attend before the pandemic, which she then hosted at her own Los Angeles home, the album blends reggae, dancehall, and Afrobeats to create a dreamy and sultry atmosphere. The lyrics resemble raunchy nursery rhymes, bluntly expressing polyamorous and pansexual desires with a hilariously frank tone. Catchy elements like the undulating groove of “Water Slide” or the combination of smooth saxophone and vibrant percussion on “Know Better” ensure that this album will be the soundtrack to summer revelries. However, I must admit that there is still a sense of restraint in Monáe’s songwriting. She speaks of liberation, yet her connection with the backbeats can sometimes feel constricted.
These albums matter because they offer glimpses of a fantasy world, an “Age of Pleasure,” that challenges the current social landscape. In 2023, it’s evident that the freedom and liberation celebrated in much of pop music are hard-fought victories. After experiencing a pandemic that led to the suppression of self-expression, sexual openness, and the rights of queer individuals, these artists persist in keeping scenes of joy and laughter alive. They refuse to be silenced with a laugh and demonstrate the resilience of the party spirit.
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