Britney Spears was at a career-high after four albums of hits that continued to push her into the stratosphere. Last year, however, the spotlight intensified on the pop star’s life. The culmination of her dissolving marriage, an intense work schedule, and the scandals around her partying lifestyle led her to a public nervous breakdown. In response, Spears entered the studio to release some steam and garner control of her narrative. The result is her most interesting album to date, Blackout. Britney tapped Swedish production duo Bloodshy and Avant (who had worked with Spears on the hits “Toxic,” “Do Somethin’,” and her cover of “My Prerogative”) alongside Danja, Pharrell, Robyn, and Keri Hilson to create a darker dance-influenced affair.
‘Gimme More’ immediately starts with an entirely different energy than Ms. Spears’ prior albums. The opening line, “It’s Britney bitch!” has all the bite it needs to spit in the faces of those who’ve deconstructed every move she’s made. Keri Hilson, who sings backup and co-wrote the track, had the following to say about the recording process:
“Gimme More” happened at Conway — [Danja] had done the beat in his headphones, and we all had chills. I started [sings], “Gimme Gimme, Gimme, Gimme Gimme” over the low-end. It was just so easy! I believe it was Jim Beanz who came up with the line “It’s Britney, bitch.'” We were joking around in the studio, and I remember telling him, “Do it, go do it, put it on there.” I remember [Jim] being a little reserved about it, like, “How’s she gonna feel?” But I was like, “That’s how she’s gotta feel!” It’s cocky; we simply wanted her to feel that way about this record. She had what I call the “Fuck it factor.” She had been pushed into it. And the “fuck it factor” is when an artist does something bold, ’cause it’s like, “I know this is not conventional, and I know this is not why they love me, but fuck it.”
It’s a bold statement that gives the track staying power. The lyrics and video play up to the voyeuristic tone of sexualizing Spears’s life, “Cameras are flashing/ While we’re dirty dancing/ They keep watching (They keep watching)/ Keep watching, feels like the crowd is saying/ Gimme, gimme (More), gimme (More).” It’s an impressive launch point for Britney.
The second track, ‘Piece of Me,’ takes on the spectacle of tabloid drama that Spear’s life had been over the past two years. Bloodshy and Avant tapped dance-pop artist Robyn to add backing vocals to the song. The track is a complete middle finger to all who have attacked Britney’s character, “I’m Mrs. ‘Oh my God, That Britney’s Shameless’/ (You want a piece of me?)/I’m Mrs. ‘Extra! Extra! This Just In’/ (You want a piece of me?)/I’m Mrs. ‘She’s Too Big, Now She’s Too Thin.” The moans and heavy synths only add to the bite. This is Britney’s version of Madonna‘s ‘Human Behavior.’
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‘Radar’ was supposed to be the third single off of Blackout but was shelved in favor of ‘Break the Ice.’ Bloodshy and Avant lean into the album’s electro-pop/dance-infused signature sound for this one. The song plays to Spears’s attraction to bad boys, “Confidence is a must/ Cockiness is a plus/ Edginess is a rush/ Edges, I like ’em rough.” Britney’s alluring tone works so well with the heavy production quality.
‘Break the Ice’ is another song that Keri Hilson co-wrote for Spears. Hilson told MTV Canada the following about the track’s meaning and working with Britney:
“This track has a second meaning where Spears apologizes for being away so long from her love interest. It’s about two people, a girl, and a guy, and the girl is saying, ‘You’re a little cold. Let me warm things up and break the ice.’ When we arranged the vocals in the studio at her house, she was about eight months pregnant and standing up in the vocal booth, just banging it out. Three weeks later, she had the baby.”
The track has an icy tone throughout the production that Danja adds. Keri’s songwriting gives a heartbeat to the hip-hop-inspired club pop that underlines the track. As Hilson said to MTV Canada, the track turns up the heat to melt even the coldest body on the dancefloor. The chorus, “Let me break the ice/ Allow me to get you right/ Once you warm up to me/ Baby, I can make you feel hot, hot, hot, hot” is infectious. The track is the hottest on the album.
‘Heaven on Earth’ is the only disco-inspired track on the album. It samples Donna Summer’s iconic Georgio Moroder-produced ‘I Feel Love’ to further add to the 70s club vibe. Britney’s words capture the intoxicating sensation of new love, which pairs wonderfully with the elated tone of the backing disco sound. Spears stated in a recent interview with Ryan Seacrest that it was a favorite due to its unique sound compared to the rest of the tracks.
The album continues its thick, darker tone on ‘Get Naked (I Got a Plan).” Britney shares vocals with songwriter/producer Danja. She leans into her sexuality as her sultry lower range is tapped to fantastic results. Her newfound fuck you attitude comes out strongly in the lines, “Maybe I’m a freak, and I don’t really give a damn/I’m crazy as a motherfucker, bet that on your man.”
‘Freak Show’ takes a more minimalistic tone in its production. Bloodshy and Avant keep this darker vibe reminiscent of some of Madonna’s work on more pop-forward works like American Life. I like the attitude that Spears puts off through her lower register and spoken verses.
We keep the assertive dance-pop girl power tone with “Toy Solider,” featuring the dark electro-pop sound that Danja experimented with on Justin Timberlake‘s FutureSex/LoveSounds. Spears comes in strong as she searches for a man on her level, “How much more could I take?/I’m tired of privates driving/ Need a general that ain’t weak.” The line, “This time I need a soldier, a really badass soldier,” feels rushed to meet the tempo, but the hip-hop/electro-pop elements married with Britney’s seething sexuality is intoxicating.
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Spears brings in T-Pain for the spacey pop number ‘Hot as Ice.’ While Spears brings a silky yet commanding performance, the backing elements are distracting. And the notion of having opposing facets to her personality delivered lyrically feels a bit underbaked.
‘Ooh Ooh Baby’ is a bright point on the record. Songwriter Kara DioGuardi, known for writing songs for P!nk, Kelly Clarkson, and Enrique Iglesias, co-wrote this Spanish/Hip-hop influenced track. Britney’s cadence in the verses flows smoothly, and the theme of being intoxicated by the seductive nature of a potential lover meshes well with the overall vibe of the album. The repetitive “baby” in the pre-chorus and outro may be overstated, but it’s a minor distraction in an otherwise classic Britney song.
The album’s final Keri Hilson co-written track comes in the icy club number ‘Perfect Lover.” Danja’s production pulls Spears’s sexuality to the center of the sweaty dance floor. She taunts in her tantalizing way to come and get it before she changes her mind, “You got that thing that I want and then some/ And I can’t even front, so listen/ I know what you’re missing/ Better hurry up ’cause time is ticking, yeah/ Tick tock, tick tock/ Come and get me while I’m hot, now.” This could easily be another single off the project due to its catchy sound and addictive energy.
The final song on the album comes in the glowing sounds of ‘Why Should I Be Sad.’ The song blends hip-hop, R&B, and pop flavors to the end of the project, with Spears’s shaking off all the chaos in a golden glittery haze of synths. Britney waxes on the emotions surrounding the death of her marriage with Kevin Federline, “Made your choice with all the teams, People and Us magazines/ Tell me, who’d I do that for? Who?/ Why should I be sad? Heaven knows/ From the stupid freaking things that you do (Stupid freaking things).” This look into the angst and sorrow surrounding Spears’s divorce perfectly wraps up Britney’s personal and empowering take on this project.
Britney’s pivot into a darker electronic sound works in her favor. She commands attention as she casts off the miasma of tabloid and paparazzi intrusions, divorce, and a public nervous breakdown triggered by the former issues listed. Her partnership with songwriter Keri Hilson and producer Danja has carved out a way for her to hold onto power while giving the finger to those thirsting for her downfall.
The album’s first half is where the most significant strength lies. Being the first Britney Spears album I have listened to front to back, I can say it is more than just a singles record. It’s a great album to put on and dance the negativity away with confidence. I think even the casual Spears fan will find this album to be an enjoyable listen.
