So there I was, meticulously putting together my end-of-year reviews: shows, songs, and albums included. I thought I had a long-standing, clear decision on my favorite release of 2019. I thought. Then tenacious triple-threat Tinashe said hold on 2019 imma put out the album of the year real fast and well, here we are. Wrapping up the decade with one of the most fulfilling, well-constructed, and engaging albums I’ve had the pleasure of listening to, and the honor could not be going to someone more persistent, hard-working, and deserving of the title. Here’s my review of her latest album Songs For You.
Longtime listeners of Tinashe’s work are well versed in her Soundcloud history and endless mixtapes. Just to kind of do a quick comparative glance at Songs For You, I can only describe my initial listen as that jaw-dropping “first impression” feeling I got from her first (major) release – 2011’s Aquarius. Another reason it’s reminiscent of that era, is that this new record just crosses so many musical genres – none of which can really even be pinpointed, to be honest. Like Aquarius, Songs For You showcases her amazing range as a writer, producer, and vocalist. No matter when her music comes out, it’s always in her own lane and completely uninfluenced by the current state of pop culture. It also has this underlying space-age, futuristic vibe that I also felt with Nightride in 2016. Sonically on Songs, I greatly enjoyed the compositional risks from song to song, and think that this is a perfect follow-up to 2018’s Joyride because it’s much more emotionally engaging from the start.
The 15-track record was released November 21, 2019 and literally sky-rocketed to the top of everyone’s playlists and the top of the streaming charts. Just minutes shy of an hour, the album includes production from the likes of Hitmaka (think “Throw A Fit”), MAKJ (DJ and frequent Hardwell collaborator), KINGDOM, and also features collaborative work with 6lack, Ms Banks, and G-Eazy. In what I feel is a smart (and possibly strategic) move, all of the vocal collaborations have been released as singles – exposing a more diverse spectrum of listeners to her work. From here out, the rest is all Tinashe, who was in the driver’s seat as far as writing goes on the record. While we do have some longtime production collaborators on this release, I feel like this is her most creative work to date. If you remember standalone tracks “Throw a Fit” and “Like I Used To” from 2018 – this record has a similar vibe, mixing very futuristic R&B, with pop, trap, and electronic attributes. Let’s get into it shall we?
“Feelings” is a perfectly curated opener, with the very first line of the song really setting the intention for the remainder of the album. She proclaims “lately I ain’t been in my feelings, ‘Nashe out here minding my business.” And then makes a point to reiterate in just in case you missed it. It’s a perfect blend of pop and hip-hop, which is kind of her thing and this song hits the sweet spot between the two.
“Don’t be too proud to admit that you need me.”
The highlight is definitely the “switch up” towards the middle (which you could call a bridge, I suppose). It’s very reminiscent of Aquarius and I think that once she brings in the falsettos, atmospheric layers, and echoes, it makes for a dreamier outro and smoothly transitions into the next song.
The KINGDOM-produced, standout track “Life’s Too Short has instantaneously become a fan favorite among listeners, with that flirtatious, bouncy vocal cadence that I don’t think anyone has every done before. It’s so light and catchy, that there’s no way to listen to this without getting it stuck in your head.
“I just wanna lay, I just want all you, all of you, I just want all you, you all over me – yeah yeah.”
I love the direct and vulnerable approach to her inner thoughts, teetering between what you want or miss vs what you actually need. And again, Tinashe songs don’t stop giving until the song literally ends. The way she brings in the harmony “all of youuuu” into the repeated chorus as it fades out – it’s sooooo good! I literally get chills during that line. For me, the attention to detail on this song is simply peak composition on the album.
We then move into what can only be described as a “bop”, the super vibrant soon-to-be summer hit “Hopscotch”. What I think Songs For You does better than her previous LPs, is that it uses the music to really set a scene and create an atmosphere that you can truly envision. The opening dialogue with the radio announcer really paints a picture, and again – the attention to detail with the Taco Tuesday is impeccable. (Tinashe is notorious for her Taco Tuesday parties – fans know.) With IG caption-able lyrics like “Move bitch, bitch I’m Luda” and “Ta da da” , this is the first of the more upbeat moments on the album. I appreciate the end of the song using the radio announcer once again, to essentially wrap up the track with a clean finish and close out the story we’ve painted.
This next segment of the record is a seemingly a bit more reminiscent of the past, and is moving into a romantic portion of the journey. The uniquely composed “Stormy Weather” is a dark, experimental track that feels a bit like an interlude into another segment of the record. It’s an important “palette cleanser”, if you will, moving into the uncertainty of how we feel about the end of a relationship. Case in point – the electropop dance track “Save Room For Us” which hones in on those open-ended possibilities of the unknown, and hides a longing for love beneath an upbeat, disco beat.