Album Review: Personal Lows in Katy Perry's Life Won't Erase Her 'Smile' on Sixth Studio Album

  ★ ★ ★ ★ out of 5

   The love-hate relationship with pop juggernaut Katy Perry has been on full display since her mainstream breakthrough with problematic "I Kissed A Girl". She achieved five #1s with sophomore gem Teenage Dream, capitalized on the trap-pop trend with "Dark Horse" and pushed herself, to mixed results, with the woke-pop messages on 2017s Witness.

   Known for her sharp radio-ready hooks and inspirational though often-cliched songwriting skills, the artist has been one to mostly follow paths as opposed to carving her own. However, when she breaks that trend -- like on emotional ballad "Thinking of You, the empowering "Rise" or the dark and edgy "Roulette" -- she excels.

   For her sixth studio album Smile, one plagued by strained one-off single releases and a COVID-related delay, Perry sticks to her strongest pop talents on a search for motivation to pull herself out of personal life muck. Countless broken relationships, the pressure to remain fresh in a competitive genre, battles with depression, a pregnancy... all carry heavy emotional weight.

   Preceded by "Daises" and the title track, and featuring previous releases such as "Never Really Over" and "Harleys in Hawaii", the new album for once sheds light on the authentic Perry persona. There's no need for whipped cream bras or guest verses from male rap artists. Dare we say, Perry has matured, and in doing so, has delivered encouraging mantras for the downtrodden who might find themselves in similar unfortunate predicaments as she did during its creation.

   We may have gotten "365" with Zedd and a "Con Calma" remix", but the Dagny-sampling "Never Really Over" was our first official taste of a new Perry album way back in early 2019. The folk-inspired, electropop track detailed the complexity of getting over a former lover. Though Perry struggled with pushing forward personally and romantically, the song was a creative success: blending the colorful production of Teenage Dream with the desired sophisticated sensibility of Witness.

   "Cry About It Later" details the return to questionable decisions that COVID has deprived us all of: a night out at the club to dance the tears and stress away. The 80s rock-tinged, upbeat number finds Perry mending a broken heart with temporary flings and excessive drinking. Whatever works. "It's half past three, and I got angel wings, but a devil's grin, and only one can win," she acknowledges on the song's bridge.

   The dance-to-mask-the-pain vibe continues into "Teary Eyes" albeit with a slightly more relaxed, electronic beat as support, courtesy of Oscar Görres. While Perry is recognizing the need to cry on the dancefloor, she's forcing frowns upside down by reassuring the pain will all eventually wash away. The tears will dry and life continues. Sure, we heard the message before on the preceding effort, but it highlights the many ways we can get over the hump.

   Mellow, self-empowerment anthem "Daises" is the artist's best "lead" single release to date, utilizing delicate guitar strings and a folky, mid-tempo structure to encourage the downtrodden to always get back up. The acoustic ballad bolsters self-esteem, just as "Firework" and "Rise" did. However, instead of loud, colorful production, Perry relies on recent, intimate lived experience to get the refreshing message of strength and individuality across. She sounds inspired again.

   To regain that inspiration and strength, Perry understands we must endure storms before we bask in sunny skies again. On "Resilient", the normally-optimistic artist delivers a realist approach to progress and growth. "I know there's gotta be rain if I want the rainbows, and I know the higher I climb, the harder the wind blows," she sings on the opening lines, before comparing herself to a mighty flower persevering in even the harshest of climates.

   On the surface, with trap influences and a clever sample, "Not the End of the World" appears to be an attempt to capitalize on previous success. However, the shift to an aggressive tone and an exuberance of confidence capitulates the effort to star status. Perry sings to never lose hope, even when looking defeat in the eyes. She does so with sharp and imaginative songwriting, referencing everything from cliffs and shooting stars, even throwing the middle finger to "flop" culture.

   Current single "Smile" revisits the rainbow-bright, glittery, overly-optimistic narrative driven into every Prism track. While that approach created some syrupy-sweet offerings back in 2013, here it allows an authentic sense of joy and gratitude radiate from Perry's cheery vocals. It may not be the strongest cut to lead as an official single -- it is a bit been-there-done-that -- but the message is certainly one that is necessary and appreciated.

   "Champagne Problems" latches on to the current disco trend with soaring results. Alluding to her relationship with Orlando Bloom, Perry once again keeps it real and fesses up to the hurdles every couple must jump before a celebration of forever can occur. Co-written by John Ryan (One Director, Maroon 5) and Ian Kirkpatrick (Dua Lipa, Selena Gomez), the artist sings that if the only problems in a relationship are superficial, you're in a pretty good position.

   Most adults can make the distinction between a life-long relationship and a one-night stand. Perry can as well. "Tucked" finds the artist coming to terms with temporary flings, only there to satisfy an urge or craving. "Tucked deep, deep in my fantasy, 'cause in reality, we're a mistake, don't need permission to do what I do to you, when all you are to me's a sweet escape," she slyly sings, as the production tries to blend a disco beat with tropical aesthetic.

   Perry appeared to have been on a creative winning streak early on in album promotion when we got "Never Really Over" and "Small Talk". But then came "Harleys in Hawaii". Within the album tracklist, it does act as an effective extension of the tropical vibes found on its predecessor. However, poor execution reduces it to a trap-light endorsement for motorcycles. Co-written alongside Charlie Puth, the nod to her relationship is sweet and fashionable, but the hem is visible.

   We get the first true ballad in "Only Love", where Perry envisions and executes her final day on Earth. Of course, she would correct mistakes with her parents, but more importantly, focus on the positive. After a grueling year in her personal life, the artist has come to the realization that not a second should be wasted on the hate. "Like, oh my God, the time I've wasted, lost in my head, let me leave this world with the hate behind me, and take the love instead," she sings with a deep exhale.

   The album closes out with "What Makes a Woman", a stripped-back, country-leaning ode to self-realization. Perry is unique, from her soft skin to her eccentric personality, and is finally comfortable and confident enough to love every ingredient of her special formula. Women carry a heavy load: motherhood, the fight for equality, sexist behavior. They tackle it all, and in a pair of gorgeous high heels. The song serves a valuable lesson to her newborn daughter, but really, to herself.

   Smile arrives at a peculiar time. Commercially, the chosen singles have not made the chart dent Katy Perry is accustomed to. Following the critical disappointment of Witness, it became trendy to stomp on a supposedly fading bright star. And in reality, an album filled to the brim with messages of hope and optimism will have a tough time puncturing the worry and fear brought by the current pandemic. However, the artist weaves through bouts of depression and broken hearts, to proudly arrive at her destination of comfort and happiness. Her vocals are strong, the accompanying production sounds both timely and similar to her previous career heights, it all blends together well. Critics have labelled the project "boring" and "apologetic". What they miss is the maturity, effortlessness, and bombastic hooks.

Tracks to Hear: "Never Really Over", "Cry About It Later", "Daises", "Not the End of the World", and "Champagne Problems"