Often forgotten, underrated and overdue for a comeback. Before Friday, that’s how I would’ve described Selena Gomez. While she’s managed to recapture the limelight this year, it hasn’t been nice to her. Between some questionable singing in Emilia Pérez and everyone questioning her engagement to Benny Blanco, her musical reputation seems to have taken a nosedive. It had me wondering if she was just another bygone of the 2010s, à la Katy Perry or Nicki Minaj.
I was completely wrong.
On Friday, Mar. 21, Gomez released “I Said I Love You First,” her first album in five years. It’s also one of the best albums that’s been released in the past five years. Its 14 tracks are fresh, informal and adventurous. Gomez seamlessly jumps genres from track to track, alternating between retro synths, dreamy vocals and high-energy hyperpop and reggaeton. Blanco, the album’s co-artist and producer, has fulfilled his role flawlessly, too. The songs flow into one another effortlessly, creating a cohesive final product that I know will top both charts and hearts.
A surprising favorite of mine has been “Call Me When You Break Up,” featuring Gracie Abrams. The bright, poppy beat is nothing short of magnetic, beckoning listeners to get up and dance (or at least nod their heads) to its rhythm. The instruments are distinct yet not overpowering, acting as complements to Gomez’s warm, whispery tone. I didn’t expect to like Abrams’ verse; her vocals have always been a bit polarizing to me. Sometimes, her breathiness and bright timbre make a track shine. Other times, her vocals strike me as somewhat whiny and overproduced. Thankfully, this is a time where Abrams’ voice works with a song. Something about her tone and way of enunciation really makes the beat pop and the song feel fun.
Gomez’s slower, more low-energy songs deserve a lot of love, too: “Don’t Wanna Cry,” “Ojos Tristes” and “Cowboy” stand out in particular to me. They all have a little bit of a moody edge to them, but are very different songs. “Don’t Wanna Cry” is pure ‘80s synth, while “Cowboy” is softer and more sultry. “Ojos Tristes,” a remake of Jeanette’s “Muchacho de Los Ojos Tristes” alongside the Marías, is chock-full of influence from the band. The first time I listened to it, I had to do a double take to make sure I wasn’t listening to the Marías’ “Paranoia” instead. Still, it’s a beautiful track, if not a little haunting and nostalgic.
