Brittany Howard - What Now
Feb 18, 2024 (updated Feb 22, 2024)
91
I’m shooketh…

So y’all, for a long time now - actually since I’ve first constructed it - my bio has been plagued with a lie. That being that I “gravitate toward Pop and R&B”. But in reality, I gravitate towards Pop and Soul!

I know it’s shocking; I’m so sorry ๐Ÿ˜จ๐Ÿคญ

But truth be told, when I first started reviewing and attempting to make a name for myself on the site, I never really understood the difference between the two genres. “Ignorance is bliss” they say, and that’s exactly correct, because as I’ve learned the differences between it I’ve been meaning to change this inaccuracy in my personal description, yet I’m both busy and lazy and no album that I’ve reviewed has really called me to make this oh, so significant change.

Well, after a couple days of Lianne La Havas and Brittany Howard, I finally was forced to make this correction or consequentially go mad. So why am I reviewing this album, the lesser known and lower rated of the two, and what brought along this change?

Well, the answer is that I believe in the fact that Brittany made something really special here…

Former lead singer of the Alabama Shakes, Brittany took up an interest in music from quite a young age. At just 11 years old, Brittany would stay after school to watch her friends playing covers (specifically she mentions Nirvana covers) of her favorite music, and that’s when she realized that music was her passion. This led her to learn to play both the Guitar and the Bass, not to play by herself, but so that anyone who wanted lessons in the instruments could go to her to learn. Her main goal in all of this was to find people in her hometown that would want to play and write music with her, but unfortunately, many people would come and go.

However, Brittany was persistent and it all ended up working out; years later she ended up being surrounded by people who loved music and loved her. She disclosed that “I did it for so long that by the time I actually had people around me that were interested in the craft of songwriting and learning to get better at their instruments, I was just waiting for them to stop showing up to practice.” Those who stayed were among some of the members of her future band, the Alabama Shakes; Zac Cockrell, Heath Fogg, and Brittany were the original three members of the Four-person band.

Although they started out with a passion for music, they didn’t really expect to get anywhere far in the industry. In an interview with The Independent Howard admitted, “We didn’t have any grand designs…“. They would play house parties and take gigs at bars, often earning very little to no money for their efforts. And while they did mainly perform these grand and exquisite covers, they also wrote some of their own music.

Although they didn’t have a single soul representing them, pushing them to release and promote their music, they somehow struck out. Brittany had slowly been uploading their music to the internet by herself, and with their 2012 single ‘You Ain’t Alone’, Alabama Shakes struck out with the public. Suddenly they were very public; demand for them to play was everywhere and coming from every direction. While the members of the group had never even left the South before, they soon started traveling to other countries; from London to Paris, the Alabama Shakes were playing everywhere.

And this is good news, right? Well actually, it sent Brittany into this period of self-reflection. She would see herself all fixed up on TV and realized that everything was bigger now; unsettlingly prettier. However, this self awareness allowed her to stay the humble, down to earth individual that we know today. This all became very clear to me, not only by listening to this very virulent album, but also hearing her say “it felt like a different person… having made something of my life, but I needed to preserve my world. I didn’t need a big ego, I didn’t need a deflated ego. I just wanted to stay who I am”. In a way, this is probably the most appealing part of Brittany’s personality not just as a singer, but as a person that we all get to observe in real time.

Soon after all of this, the group released their album ‘Sound & Color’, which won a total of three Grammys for the group. Yet, the world was shocked when they learned that Brittany planned to embark on a solo career. I mean, while some found it unbelievable and egregious, it made sense; Brittany was always a free spirit, she didn’t want to have anyone else control her music. So the Alabama Shakes seemingly disbanded in 2015 after ‘Sound & Color’ and fours years later Brittany came out with her debut album, ‘Jamie’, which was named after her late sister.

Now, I never claimed that Brittany had an easy childhood, but I feel inclined to give y’all a bit of education on her childhood. Prepare to get learned!

Brittany Amber Howard was born in Anthens, Alabama on October 2, 1988. She grew up in a predominantly racially separated community, yet this didn’t prevent her parents from marrying each other and then having children together. The topic of controversy growing up for Brittany was that her mother was white and her father Black, so they didn’t necessarily do all that well growing up.

Brittany grew up with her Mother, Father, and older sister (Jaime) in a house located in a junkyard - which btw, it burnt down due to being stuck by lightning once - when her mother conceived Brittany, they were the point of all public discussion and criticism due to mixed children not being common in their area. Despite all aversion, they made do though and although Brittany was ostracized due to her appearance, it was the least of her struggles.

At 11 years old, Brittany developed a case of Retinoblastoma, a rare type of cancer that develops in the tissues of the retina. Luckily for Brittany, they were able to remove the tumor from her eye, leaving her only with partial blindness, but her sister, who also had retinoblastoma at some point in time, wasn’t so lucky. Jaime fought the cancer, but eventually succumbed to it, passing away in 1998 at the age of 13 - Brittany was just 8 at this point.

The death was hard for the family. Jamie’s name turned from one of joy to one plagues by grief and mourning. While the entire family was hurt by her passing, Brittany was probably hurt the most. Jaime was he only other one who understood what it was like to be mixed in such a distinctly colored area; Jaime was the only one who Brittany felt she could emphasize with in a time of personal struggle. Jaime was also the one who taught Brittany how to play piano, an action that sparked that love for music in Brittany at such a young age.

Eventually, the family stopped going to church and Brittany gave up on the idea of having a God to believe in; when recalling it all, she pointed out “I was pretty happy about not going to church, honestly. I didn’t believe in any higher power anymore, just human beings”. However, Brittany was determined that she needed to change the narrative; after all, she loved Jaime so much and Jaime was a source of joy, why should her memory only be in sadness. And in 2019 she released her very promising and very vulnerable debut titled after her sister.

It was a grand spectacle of sorrow and melancholy bliss. It tackled the topic of Jaime’s death with poise, and Brittany released it with the statement: “I wanted Jaime’s name to be something that didn’t elicit tragedy, especially for my family. I wanted it to be something very positive.” While ‘Jaime’ of course discussed the person in which it was named after in vivid detail, it also tackled some other big themes that can be prominently found in this album as well; topics of spirituality, racism, finding God again, and sexuality - she came out as Lesbian shortly after traveling to Nashville and finding people happy with themselves there, a sight that ultimately helped her realize that she wasn’t happy with herself.

Overall, ‘Jaime’ was a very promising debut album, but there was something a bit in-cohesive about the project as a whole. And that’s what’s so exciting about ‘What Now’: it’s an absolute success and improvement on all fronts.

I mean, I cannot express any more excitement about this album than I am now. There’s sounds reminiscent of those coming from D’Angelo and Radiohead, something you don’t see a ton in today’s musical climate. It’s an album that is absolutely explosive and explorative, something that elicits so many emotions while being so very polished and refined as well. And I feel like Brittany reached her ultimate goal with this record: “I’ve been working really hard with the band to create and produce something very visual and very visceral,”

This is something that she’s never been able to do before. These are sounds that she fought to make. This is a BOLD statement of power and eloquence supreme.

This is the album that made it all worth it…

So before I get into the track by track for this album, I want to pull yet another quote from Brittany’s wonderful interview with Independent that I feel captures the very essence of what she made here: “People say I seem really confident, but they don’t understand what I’ve been through… I’m like a piece of hot metal that’s been strengthened by being thrust into cold water. I’ve been tempered by life.”

Tแ–‡แ—ฉแ‘•K แ—ทY Tแ–‡แ—ฉแ‘•K:

‘Earth Sign’ is the first track, being this hazy combination of Soul and Psychedelic Blues that just jumps out at you immediately. Despite it only being the first track on the album, it’s a phenomenal glimpse into what Brittany presents throughout the entirety of the album.

The track starts with these ambient bell sounds - not the shrill ding-a-long type of bell, but the one that encompasses your ear in a warm swell of in resonance of the smoothest baritone - but slowly develops into this chilly atmosphered Soul ballad with this grand, hammered piano and these quiet high hats in the background. The track slowly build on Brittany’s vocals, growing from a little bit of layering into a grand display, as Brittany choruses in triumphant harmonies and vocal routes and the drums bang whilst the piano grows into a roar.

Lyrically, the song seems to be about a love at first sight; will Brittany find her love and recognize them immediately upon doing so? However, based off of the grandness of the track and lyrics such as in the final hurrah “In every word I declare/In every thought I can still/In every part, every cell/In the wet of my eyes/In the wind of my chest/It's nearly there” and the fact that Brittany has discussed her spirituality before in her music, I think it’s a declaration of her spiritual journey.

After losing her faith after Jaime’s death, Brittany said that she denounced all faith in a higher power, but from tracks like ‘He Loves Me’, she has publicly announced that she does in fact believe in God and his love for her, and that even while she smokes or the fact that she’s married to a woman, he will forever love her. However, that track seems to be correlated to a time where she had not yet regained the faith that she had as an early child. This though, this is where she worships fully and openly, in the peace that comes from knowing that he’s there “in every cell” and “the wind in her chest”.

Despite this being only the first track, it is a perfect display of what is to come, and actually is what I believe to be one of the strongest tracks in the album’s repertoire; being as grand and larger than life as it is.

Following ‘Earth Sign’ is the track ‘I Don’t’ which feels like it just came out of Little Simz’s SIMBI.

Featuring these really cutesy background voices and offering more of a tropical tone than the first track, it’s a nice time to catch your breath; it’s almost as if you’re laying flat-backed in a pool of warm water in the middle of an island, free from all of the thoughts of the world.

The track is built off of these sugary background choirs that sound as if they rushed over from one studio to Brittany’s after recording Little Simz’s ‘Little Q Pt. 2’ or ‘How Did You Get Here’. Despite sounding childish in nature, the choir elevates the soulfully resonating style present on the track. Subsequently Brittany introduces these warm drums and blissful synths which completely stuff the ears with gooey goodness. And underneath all of that is a stone solid drum beat that alternates between a clap and kick drum and once again adds some smart high hats to the sound.

This innocent nature that Brittany has been riding off of stops on the title track; a funky callout to a girlfriend who didn’t care about giving the relationship the effort that it needed to flourish.

I mean, if a track opens with the line “I don’t want to confuse you for fulfillment” then you know it’s going to be an absolute banger.

I haven’t really yet touched up on Brittany’s vocals on the project, but it goes without saying that girly got pipes. I mean, despite the fact that they’re absolutely SMOTHERED with a rocking distortion, they come through super clearly and the bite is THERE! The track is reminiscent of Blues Rock while still retaining that soulful warmth that Brittany has on all of these other songs, the only difference here is that the warms isn’t comforting, it comes from the blazing inferno that was once your house… and she makes it well know that she was the arsonist too.

There are so many instrumental components to this song; multiple layers of electric guitars draped in fuzz, synths of both the bubbly and abrasive variety, and a powerful drum that absolutely hammers the ear drums. But the most intricate detail has to be that buzzy synth/brass that sits at the very forefront of the instrumental army. It’s powerful presence may be distracting, but overall it is a crucial part of the sound and what holds all of these different ideas together.

Brittany describes how she’s been holding this relationship together for a while in the midst of her partner squandering it away. While she knows that this relationship has the means to really go somewhere - going at lengths to defend her partner saying she has “potential” and is “comfortable” - but ultimately realizes that holding it all together by threads is taking a toll on herself. She pleads with her partner to “let me go” explaining that “I don't have love to give you more/You're f*cking up my energy/I told the truth, so set me free”. It’s an all too relatable situation in which many listeners will either feel resentful or sorrowful, but it’s so emotionally provocative that even the most apathetic of beings will feel something stirring in their souls.

“In my past relationships, I’ve had a tendency to see red flags as part of some parade just for me—something for me to run right through without paying any attention. To me ‘Red Flags’ sounds very dystopian, which makes sense for a song that feels like end-of-times as far as me emotionally maturing. It’s like a big tower fell and now I have to create something new.”

And from one force of wonder comes another in ‘Red Flags’. There is absolutely no shortage in impressive material on this track.

From the opening drum kit, which is both heavily knit and aerated, you know you’re in for something. It’s surrounded by these smoky synths, creating an atmosphere of anxiety lingering in danger, yet they transition into what almost sounds like rubbing glass in an endless cycle of security and intensity. Soon enough, this dense bass joins its way into the party and following it is these ferocious guitars that cry in guttural rage. And although they - along with a percussion element very familiar on the album that I cannot seem to name - shouldn’t all work together, they tie together the minute Brittany cries out in frustration.

When I tell you that this is one of my favorite vocals moments in a hot minute, you should take that with the notion that I’m a person who thinks they know what they’re talking about.

Her vocals on here are absolutely outrageous. A deaf person could feel this song and I wouldn’t be the least bit surprised if they responded along the lines of “Oh dang… she’s angry”. This rage, ever present and unwavering on the track, is a perfect representation of the frustration one feels with themselves when they let a toxic person into their life. That type of disappointment with oneself after realizing that they inductee pain willingly unto themself. The rage that comes from the all to familiar sadness that comes with noticing everything was wrong… but only once the damage has already been done.

And even though she expresses all of this in perfect cohesion, it’s her technique and range that absolutely flabbergasted me. There is such power, such control, such recognition and self awareness, displayed in how Howard treats her voice. It’s respectful within its limitations (if there are any) and the end result is a track like this, something that rivals the awe I felt only when listening to Jeff Buckley’s ‘Grace’

‘To Be Still’ is yet another track I think exists only so Brittany doesn’t get sued for someone suffocating from total wonderstruck.

It details the moments in which someone can enjoy intimate loveliness with a partner, and the peaceful bliss that comes with it. Even then, this is all imagined fervor as Brittany compares herself to a flower that lives in her lover’s garden, and she wishes that she were treated so gently by her.

The loveliness of this track is just adoring; “I daydream to be a flower in your garden/I'd drink your hose-pipe water/I wonder how delicate is your touch/For something you love so much?/I wonder if I didn't have to wonder?” is a line that feels like it belongs in a Phoebe Bridgers track, so simply impressive that it surely cannot be real.

‘Interlude’ and ‘Another Day’ go hand in hand with each other, being tracks that are meant to explore the reality that PEACE BETWEEN PEOPLE IS OBTAINABLE.

We live in a world where change and violence go hand in hand; in order to make a stamp in the world and fix the trajectory, violence is encouraged a a constitution to reach said fixture. And while we all call for peace, we treat it as a distant dream and justly mock beauty queens when they artificially call for “world peace”.

But what if peace between everyone wasn’t an impossible concept? What if it was a goal that we should be working towards, knowing full well that we’ll make it there in the future. And that’s what Brittany is very adamantly proclaiming on this track, that the only thing keeping us from living in joy with each other IS us.

Before y’all start pulling that “well, human nature is meant to fight and we’ve been trying for years” type of crap on me, ask yourself this question: How do I act towards someone with a different viewpoint than me? Y’all, I know it’s hard when someone holds drastically different view points than you, but why does that mean that we cannot be in a peaceful or loving relationship with those who aren’t a copy-paste of our beliefs? Why do we live in a world that challenges our social genetics by saying that anyone who doesn’t agree is an enemy, and thus encourages us to attack them as we fear them attacking us?

That’s what Brittany delves into here, and I honestly think we need to sleep on it because in all honest, she’s right: There is no excuse as to why we cannot coexist in love towards each other, disagreements and all.

Oh, and yeah, ‘Another Day’ sounds really cool ๐Ÿ‘ฑ๐Ÿผ‍โ™‚๏ธ๐Ÿ‘๐Ÿผ

‘Prove It To You’ is to ‘What Now’ as ‘High Horse’ is to ‘Golden Hour’; a completely wacky idea that should not work, but does, and in doing so feels like someone just punched you in the chest with the fury of a white woman being declined her 5th pumpkin spice latte of the day in the middle of August.

‘Prove It To You’ is indeed a soulful track in the midst of soulful tracks, but it almost seems like someone told Brittany that there was no way that she could incorporate House into the album and she took that as a challenge. If so, she sure as hell proved them wrong, because this song absolutely SLAPS.

This track was undoubtedly my favorite of all of the singles leading up to the album and is still my favorite track off the record. To put this track simply, it’s openly disorienting and hypnotically appealing. The mixture of dense House and solid Soul should sound super heavy on the ears, only a couple of listen in and you should have extreme listening fatigue, yet it’s as light as can be and SO fun.

Brittany calls in yearning towards her lover (I’d assume it’s her then wife, Jesse Lafser that she’s singing about, but I’m not Brittany’s keeper) in an attempt to get her attention. She claims that she’s “…never been good at saying what I mean/Every time I try, it comes out incomplete” but wishes for one moment to just show the utter affection that she has towards her, saying “I will show you how I feel for you right now”. The song continues to go into detail about Brittany making it up to her girl, finally showing the emotion that’s she’s been struggling to verbalize for a while now.

The instrumental itself is comprised of a fast paced drum and a bouncy bass, but the track has this flute-like synth elegantly sprawled out on top of it all, absolutely owning this track and making it the club banger that it WILL be.

I mean, just absolutely wicked stuff from Brittany; it’s genius!

I’ve seen constant complaints from other user about ‘Samson’ and how disconnected it seems from the rest of the project, but I blame this inferiority on ‘Prove It To You’ being right before it; I mean, I wouldn’t want to follow up that track either!

‘Samson’ is a free flowing Spiritual Jazz track outlining the internal struggle that comes with being in a relationship that you know won’t last. On the first verse Brittany solemnly remarks that “I'm living in the future, I'm trying to avoid you/I'm living in the future, I'm trying to get along with you” and claims over and over that she’s “split in two”. It tackled the topic with great maturity and refinement, being a lyrical standout on the track due to its simple effectiveness.

However, it just feels so out of place after ‘Prove It To You’ being as slow and mellow as it is. As a Jazz track, it’s super effective in what it intends to do, but it nearly severs the tie that is holding the project together and if you aren’t carefully paying attention to the album, it actually will look off that knot.

I’m not saying that there isn’t a place for the track on here - I’d personally switch it with the placement of ‘Power To Undo’ or ‘To Be Still’ if I could - but it’s just a bit off putting where it is at this point and time in the record.

However, diving back into the signature sonic sea of Brittany Howard, ‘Patience’ is a blend of Pop Soul at its finest, and Funk, maybe even incorporating a bit of Disco in there as well.

Vocally, it’s a really smooth track that feels a bit like Patti Labelle on a good day and Lizzo on a great day. Her vibrato is absolutely enchanting and her tone stunningly strong despite its lack of dynamic egregiousness. The sound of her voice is enchantingly airy, almost raspy, but somehow still super clear and crystalline in not only her pronunciation but her overall control.

The song is not only a study of her current relationship, but a reflective analysis of her past relationships as she struggles to find the right timing emotionally with her partner. She emphasizes that she needs to be patient for the right moment, not wanting to hurt herself nor her partner or the possibility of putting her love at risk, but to wait for the right openings. These openings though are those in which she has gathered wisdom on from previous lovers, claiming that “Fools rush in and what a fool I been”. It’s nice to see something so serene and passionately fueled from Brittany, but also an attempt to teach us a bit about love.

I mean, I’d attend a seminar from her on love if she’s open to it.. I kinda need it.. real badly please.

OH MY GOSH, ‘Power To Undo’ is an absolute banger!

From the very first note you know this is gonna be a trip and a half and from the first verse, her intentions for the song are clearly stated; it’s not something you’d expect to come so easily, but Brittany works in magical ways.

‘Power To Undo’ is a bombastically funky anthem about a relationship gone sour, and how her lover can mess everything up for her but SHE AIN’T STANDING FOR IT Y’ALL!

The very first line gives us such a vivid look into Brittany’s current propinquity, and how while it started out strong, it has raked quite a downhill turn with Brittany passively aggressively remarking “Yes, I miss the way that you used to hold me/Like I was holy”. Yes, this does give her lover a feeling of leverage, thinking that she still needs them, but boy are they wrong as she quickly takes a stab at them; “Okay, oh yeah, I know I used to miss the way you loved me/I'm not that lonely”.

ouch…

She makes it very clear what her intentions are, those being that she’s fed up with it and boy, is she leaving their sorry butt behind. She goes on to scold them, powerfully noting that they “…have the power to undo everything that I want” but she isn’t taking that at all following it up quickly with “But I won't let you”.

The instrumentation is an absolute flurry of emotion and radical thinking. It’s so hard to pick out everything in the middle, but as you follow the addition of each instrument - almost as her lover piled on more and more reasons for her to leave - you can deduce and dissect the different parts of the track; a banging bass, small claps and smacks at a drum kit, an electric guitar added in with some vocal layering. And then, BOOM! The track just explodes into such a controlled chaos of energy and fiery determination.

But the selling point of this song has to be that grandiloquent guitar solo after the strangling silence. It rings off with a distorted declaration of freedom - also sounding a bit like the chorus of Michael Jackson’s ‘Bad’ - and immediately steals the show of the song. The track closes out in a wall of buzz as Brittany spits out that she’s out and admits that she gave him that power, but she more than reclaimed it with this destructive track.

Apparently, if Brittany ever had an ‘A Moon Shaped Pool’ moment, the closer to this record, ‘Every Color In Blue’, would be that moment.

The track turns on and immediately catches your attention: it’s in 3/4 time. As the plucky electric guitars battle it out with the strumming of the acoustic beauties in a graceful dance of fury and peace, the drum tinks off in the background building a grandiose escalation that ends up making this track so potently emotive. Slowly but surely, Brittany creates an ecosystem of her own on the track, adding it fluttery trumpets, hazily wobbling synths, and a waltzy piano track that feels like it belongs to something so much bigger than itself - lashing out at the listener in desperate melancholy.

The vocals on this album are absolutely a wonder to me, striking me as the words “declaration through asphyxiation”. She sounds like she’s in her last leg throughout this entire track, her breath ragged and her tone pleading for just one more drop of joy to cling on to. As Brittany tackles the feelings of fatigue and aloneness amidst a turbulent period in her life, he vocals become more and more powerfully visceral. Brittany cries out about being isolated, about being exhausted, about “That dull cloud coming in” which sucks all of the color out of her life, yet she chooses to brace the storm and while it’s not clear if she succumbs to the weather or emerges triumphant, there is not doubt in my mind what I believe happened to her.

The song sounds like I just emerged from the virulent gales of a hurricane and just entered the eye of the storm, where all is quiet and still, but I just have this anticipation that the storm is going to come back again, and the uncertainty of whether I’ll make it through or not was even worse than the struggle to get here in the first place.

I wish this song went further, that it grew stronger and more powerful, more anxiety inducing and suffocating, but even as it is right now, this song is absolutely gut wrenching and left me still in mixed horror and admiration at what I just witnessed…

“You don't see my injury/You don't see the energy it takes me/You don't know, you don't see…It becomes me, overcomes me/Dopamine leaves takes me/Eviscerates me, too raw/Tuned out, I can't believe I'm all out of rainbows”

So yeah… this album destroyed me and built me up simultaneously; it’s one of those works of art that come only once in a blue moon and I’d hate for anyone to miss out of the absolute MAJESTY that is Brittany Howard’s ‘What Now’.

Thanks for sticking it out and reading this and yeah, I hope y’all enjoyed it a bit…

Now if you’ll excuse me, I need to go find a dark corner and breathe for a bit.

Track Ratings
1Earth Sign / 89
2I Don't / 84
3What Now / 89
4Red Flags / 94
5To Be Still / 86
6Interlude / 75
7Another Day / 91
8Prove It To You / 98
9Samson / 81
10Patience / 85
11Power To Undo / 90
12Every Color In Blue / 95
20 Comments
1w
yay this album is pretty good and this review is fantastic! let’s get it to popular this week ๐Ÿ™๐Ÿ™๐Ÿ™๐Ÿ™
1w
This needs way more attention wtf, amazing review! ๐Ÿ‘๐Ÿ‘๐Ÿ‘
1w
@Needlefluujr
Thanks dude! A guy can hope, but I’m not exactly sure if it will reach PTW or not. Maybe I’ll send it out to a couple of people or whatnot…

@KaitoNkmra
I appreciate it! I put a lot of time and effort into this and I’m pretty happy with it; I hope it all pays off!
1w
this is awesome, I really enjoyed reading this! I've loved Brittany Howard since Sound and Color, and this album was just incredible. It's great to see a review with this amount of detail for it, great job! :D
1w
@StupidSticks
I love that dude, thank you! She’s definitely a great artist and I LOVE what I’ve been hearing from her and she’s definitely an artist that is going to inspire me to no end.
1w
Wow what a stellar review man, the amount of detail is insane, great work!!!
1w
@BarCooper
Thanks dude! It’s means a lot coming from you!
1w
Oh my god
1w
I'm gonna quit reviewing, this is too spectacular and packed with details, are you getting paid to do this? Cause you should
1w
The amount of back story you provided about Brittany Howard is phenomenal
1w
@VibesRUs
Dude, you literally just made my day SO much better ๐Ÿฅน

Thank you
1w
@Missing_Lyriks :) I'm gonna read more of your reviews now
1w
@VibesRUs
About 3/4 are duds if I’m being honest, but thank you ๐Ÿ˜‚
1w
@Missing_Lyriks that's okay, I can comment L take on those (jk)
1w
@VibesRUs
Do it… please ๐Ÿคฃ
1w
Dude this is an incredible review. I love all of the super interesting background information here, such an informative read.

So cool to see what projects have really clicked with you! I might have to check this album out.

Brittany seems like such an interesting artist, I mean, what a backstory! So cool to hear about a lesbian artist too. If you were trying to sell this album to me I would buy it based off of this review haha.

The way you describe the tracks is really something grand. Give yourself a pat on the back man because wow. Just incredible writing all throughout, the way you vividly explain things is so incredibly well done.

(also, there's a typo I think I should point out in the line before the track by track, people is spelt as "eople", I feel a little bad pointing it out but it might be something you would want to know about!!) (also another one with "SHE AIN’T STANDING FOR KT Y’ALL!", I don't want to seem AT ALL nitpicky because that is NOT what I'm doing!!)
1w
Once again super incredible review!! Made me want to check this album out, your writing is just phenomenal.
1w
@Vivi

THANK YOU GIRL!
This means a lot to me as you took the time to not only read it, but type out that long response; I did not wake up on a good mood but hey, now it’s much better!

And yeah, PLEASE call out typos! I actually love it when people criticize my work!
1w
@Missing_Lyriks

Of course! Glad you didn't mind me pointing those out because I felt like I was being a bit nitpicky - which was not my goal!!!
1w
@vivi

Not at all!
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