Gloria is brave, bold, and breathtaking, and Sam Smith sounds better than they ever have, reviews Shaikha Rahimi
Sam Smith often sang about being single and heartbroken, but things have changed now. They are keen on showcasing a newfound sense of self-confidence. The latest release signifies not just a new chapter, but a complete musical rebirth that redefines Sam’s artistry. Gloria is a stand-out album in its diverse range of tracks, varying from powerful ballads, commercially appealing songs, mellow slow jams, and energetic dance floor anthems. Most of all, Sam is letting loose. Gloria showcases a sense of adventurousness that had only been hinted at in their previous works. It’s brimming with surprises.
The album opener, Love Me More, is a track that is reminiscent of Stay With Me. Love Me More is a self-care song infused with gospel influences that sets the tone for the entire album and signals its introspective nature. It kicks off with a poignant inquiry that strikes a chord with listeners: "Have you ever felt like being somebody else? / Feeling like the mirror isn’t good for your health?" It’s personal and incredibly relatable to those with similar self-discovery journeys. And of course, listeners are not deprived of Sam’s unmatched vocals. In fact, it feels as though Sam has become a much more assured singer.
Gloria is a gloriously queer and overt offering, evident not only in its sound but in its references, too. Artists would usually use interludes as a means to provide a breather between tracks, but Sam takes a different approach. The interludes are incredibly powerful, stirring emotions and inducing goosebumps. Sam’s approach optimises Gloria by delivering excellence even between moments of excellence. It’s an uninterrupted journey of musical brilliance.
The first interlude - Hurting Interlude - packs a powerful punch despite its brevity, sweeping the listener away in a tempest of raw emotion. The track features symphonic strings reminiscent of an orchestral composition and an excerpt from a news anchor who covered New York’s first Pride celebration in the 1970s. They say: “The ugliest part of being a homosexual / When you have your first bad love experience / You can’t go to your brother or your sister and say ‘I am hurting’.” The force of the interlude is enough to leave someone gasping in awe.
In Dorothy’s Interlude, Sam masterfully compiles brief yet impactful snippets of important moments for the LGBTQ+ community: Judy Garland singing Over the Rainbow, drag queen Divine in John Water’s film Pink Flamingos (1972), a speech by activist Sylvia Rivera in 1973, and a nod to the landmark documentary Paris Is Burning (1991) which explored the vibrant ballroom culture. All within eight seconds.
See? No breaks.
The tracks that follow both interludes are equally outstanding. Lose You, a somber and club-infused melody, follows the Hurting Interlude with impeccable precision. Lose You has a compulsive beat. One that could be played in a German gay club in Berlin. “Baby I’m not ready to lose you yet / Yeah I tried but you know I can’t forget / I’m begging you,” says Sam. It's paradoxical in its sound and lyrics: regardless of the lyrical longing to cling to a failing relationship, it’s a track for dancing. Again, Sam’s remarkable vocal abilities take centre stage in their ability to demonstrate flexible range, unique timbre, and seamless transitions between tempo changes.
After Dorothy’s Interlude, the next track, I’m Not Here To Make Friends, bursts onto the scene with the iconic quote from RuPaul: "If you can't love yourself, how the hell are you gonna love somebody else?" What follows is a seductive dance floor anthem. It blends together the most remarkable elements of Gloria: confidence, playfulness, superb production, and infectious catchiness.
Sam delved into seductiveness in multiple forms, culminating in their iconic hit Unholy. The song climbed to the leading spot of the Billboard Hot 100 music chart and marked Sam’s first number one in the USA. Sam and Kim Petras really kicked the door down and thundered in with this explosive track. “Mommy don’t know daddy’s getting hot at the body shop doing something unholy,” says Sam. Spoiler, it’s not about a middle-aged man being indecisive about body scrub fragrances at Boots.
Sam isn’t afraid to get vulnerable, express sexual desire, and experiment with production in Gloria. The record’s strengths are moments when Sam steps outside their established canon to explore their other sides. The heartache is still there, but with a more I-will-survive attitude. Sam has never been more authentic, and they have never sounded better.
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