Katy Perry certainly has her peak highs and valley lows when it comes to her extensive, chart-topping music career. She shines neon bright with tracks such as "Walking On Air" and "Teenage Dream", however, can get easily swallowed in an electro-pop disaster. See "Birthday" or "This Is How We Do".
When promotion for her upcoming, yet-to-be-titled, fourth studio album began, Perry continued to coin the term "woke pop" to describe her next artistic journey. Following the glorious power ballad "Rise", a desire for moodier, dark pop was lobbied for. Lead album single "Chained to the Rhythm" was a step in that very direction, but amateurish songwriting ("stumbling around like a wasted zombie" could be the worst line of 2017) kept the effort from setting the charts ablaze as her previous offerings had.
Now, for round two, the artist strangely decides to share the limelight with homophobic rap trio Migos for "Bon Appétit", a 90s-house inspired track that excels in the realm of production and style, yet unfortunately does not stand too tall as a finished product. With the basic, tried premise of carnal desires and giving up control, Perry delivers a seductive yet somehow stale vocal performance as she becomes surrounded in an alluring beat and guided by a smooth progression. Again, she gets lost.
While the production proves to effectively evoke feelings of pleasure and excitement, the same cannot be said for the lyrical content. With song appropriate though generic references to cherry pie and five-star Michelin, the song stutters and falters at times. “'Cause I'm all that you want, boy, all that you can have, boy, got me spread like a buffet, bon appétit, baby,” she sings on a radio-tailored chorus that doesn’t sound as hard-hitting or memorable as past attempts.
With just the mention of a Migos feature, fans were already skeptical prior to the song's release. Now that we get to hear it all together, we quickly discover Perry and the trio are not a match made in pop heaven. “Bon Appétit” could have used an extra dose of explicit, suggestive content from the rappers, however, what we get is a tamed, PG-13 verse that does not tie in effortlessly with Perry’s dream-like, cuisine paradise. It’s a disjointed and lackluster contribution.
KP4 is just on the horizon. With no confirmed release date, the release of second single “Bon Appétit” surely signals an announcement in the coming weeks. While “Chained to the Rhythm” was an appreciated change of tone that failed to earn the artist another immediate homerun, the second taste of the project only takes Perry back a few steps as she draws inspiration from the One of the Boys and Prism eras. The song is a polished, enticing production void of any importance.
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