sway

I guess you can say she was being a shy girl and not a nasty girl so she didn't match her freak

I think it's funny that three songs with U.S. locations are charting in the top ten of the UK charts — Cleveland (no. 3), Choosin' Texas (no. 5. peak no. 1) , and Boston (no. 7, peak no. 3).

About ******* time Bitchfork got some taste. Yes, her previous scores from them have not been that bad but I felt that Nightride, BB/Ang3l, and 333 should've easily had a BNM distinction by now. I thought she would suffer the 7.7 curse with Popstar but a 9.0 is even better than I anticipated. 14 years in the making. She's getting some of her best reviews from publications that have usually been tepid with her and coming off two hits back to back prior to dropping this and a whole industry eating her nachos repeatedly. Truly a full-fledged popstar. So proud that she never surrendered her creative vision to a bunch of suits in a room.

Texas Chainsaw Massacre. I grew up in Texas so 7 year old me was definitely traumatized. Not films but Scary Stories to Tell in the Dark (the three books) were read to the class when I was 9 and that scared me a lot too.

Billie's discography… OT: Songs that have parenthesis and the use of them is just to add the adlibs to them. If it's meant to indicate something different from the song of the same name like (Interlude) or (Reprise) then it's fine. I just feel it messes up with the consistency of the song titles on the album. Also despise artists that capitalize articles and prepositions when they don't need to… a song titled "Horses and Divorces" should be titled like that not "Horses And Divorces". Yeah, they're non-issues but it really annoys me.

One of the best songs of 2013, without a doubt.

Lmfao how ******* dense do you have to be to be so ignorant when the artist herself is literally saying this. It's not even speculation from fans.

Production isn't the only thing that makes a song and multiple artists can influence a song. Lyrically, this is a Lorde daughter, but production wise it does sound like We Can't Stop, she even said she got the same guy doing the adlibs on We Can't Stop for Ain't in LA.

Meanwhile Adéla almost 6 months ago…

Girl, truly shut the **** up already. Always on these threads providing the most unintelligent bullshit nothingburger replies.

I'm glad she mentioned that "We live in cities you'll never see on screen" line because I've always thought "Ain't in LA" was a Lorde daughter lyrically. Lorde has continuously shaped the trends for so many years now. She's like a Fiona in how subtle and slow burn her influence has stretched within the music industry. And both of them have released music very sporadically while also having long stretches of inactivity between album cycles.

Yes and piece of advice to those who carry the number or write the number and carry it with them: Don't. The chances of displacing it are high. Better to store it in a safe or a secure place where you know it will be there at all times. Memorize it. People can't get into your brain, but they can go into your notebook, your electronic notes, etc. if they manage to hack or steal your belongings. Save yourself the headache and prevent your life being stolen from you. And that goes for other important information that is susceptible to fraud.

He wants to be a delicate feminine damsel in distress so bad, lmfao.

Basically an oversaturation of female artists trying hard to serve ***** to cater to the audience. Don't have anything against it but it is starting to get somewhat overexposed. I'm also not saying every artist should be some introverted bookworm songwriter, but it feels like a trend that hasn't diversified as much.

It hits that sweet spot for me. Yes - I know that the whole "cuntslop" thing female pop stars are doing is getting a bit oversaturated but she's always been like this so it works for her. This song feels sexy and grand. It has that Doja Cat element that I like from Doja that she does so well on songs like Streets, Agora Hills and Rules. Ain't in LA captured something really special, and I think this song is continuing that run for me.

Well, yes!

Estoy Enamorado, Seducción, Piel Morena, No Me Enseñaste, and Amor a la Mexicana are some of my favs from Thalía. I also liked her cover of Alaska y Dinarama's A Quién le Importa? Arrasando is basically a history lesson packed into a pop song and it's done so well. She's got great hits, even in English, but I like her Spanish stuff better.

Belanova is far and wide better than Juanes. Juanes is just Mana with a Manu Chao wig. Belanova had a unique aesthetic to them and their first album is still one of the greatest Mexican pop albums to exist. Belanova was doing the electro pop style of Dulce Beat months before Madonna dropped Confessions and that is NOT to discredit Madonna for her reinventions but just to show how ahead of the curve Belanova was too. They are very underrated nowadays with the whole corridos tumbados wave that have infiltrated Mexican radio. Gone are the days of the balladeers and great pop musicians that dominated Mexican charts.

Perhaps the corniest **** ever… every time she manages to somehow set the bar lower for herself and her burger ass antics

If you play it without audio, it could pass as an antidepressant commercial… OT: I actually don't think it's that bad. The ones that are pure **** and devoid of actual creativity are the tour montage videos. Like why make one if you're not even going to put in the work to be artistic and give the song its own cinematic universe that it can live in? Just a cheap cash grab.

The flop in question being you

Widespread acclaim, widespread success in her most subversive arena tour to date. The other pop girls would kill for a tour to be designed, visited and beloved like Ultrasound and her headlining festival run.

Have you seen Mexican shows? I feel this doesn't even hold a candle to the sheer absurdity and unhinged nature that tends to be present in those shows. Infarto, La rosa de Guadalupe, Como dice el dicho, Lo que la gente cuenta, the list goes on, lol.

Lorde is nearing the end of her highly successful festival run, following her widely acclaimed and sold out Ultrasound World Tour where performed at many arenas. The reviews have been overwhelmingly positive, with many critics praising the pacing, set design, art direction, technical elements, and Lorde's stage presence. I got to see her opening night in Austin and in Ciudad de Mexico and they were both quite honestly some of the loudest and most energetic crowds I've had the privilege of being a part of. Both magical nights. Hoping I can make it to weekend two of ACL for her closing night of her tour run. Some of the widespread acclaim received so far. There are more non-score reviews with overwhelming praise in the blurb and body of the articles, but only including several of the numerical scores awarded by publications. The Telegraph (2025, Ultrasound): ★★★★★ The Telegraph (2026, festival run): ★★★★★ London Evening Standard (2025, Ultrasound): ★★★★★ The Guardian (2025, Ultrasound): ★★★★★ The Independent (2026, festival run): ★★★★★ Rolling Stone Australia (2026, Ultrasound): ★★★★★ Rolling Stone UK (2026, festival run): ★★★★★ The i Paper (2025, Ultrasound): ★★★★★ Sydney Morning Herald (2025, Ultrasound): ★★★★★ Lollapalooza Brasil set ranking Biggest publications in Brasil: Estadão (No. 1), UOL (No. 1), g1 (No. 1) So… what went right?

Underrated masterpiece in her discography that gets hated in too much in my opinion.