P!nk “Trustfall” Album Review
Pop's bold icon, Pink, makes her comeback with her ninth studio album, titled "Trustfall." This album offers a unique and diverse blend of musical styles and influences, yet Pink's remarkable voice continues to shine brightly.
Pink, born Alecia Beth Moore Hart, has embarked on an extraordinary journey, starting from her modest origins with the R&B-infused debut album "Can't Take Me Home." Over the course of her career, she has consistently reinvented herself, evolving towards a pop-rock sound that became prominent in her second album, "Missundaztood." Although her foundation remains in the realm of pop, her musical style has frequently pushed beyond the confines of the genre.
Her ninth studio album, "Trustfall," showcases Pink at her most mature, though it occasionally leans toward a more conservative approach. This album features a gentler tone, characterized by numerous ballads and slower rhythms, yet tracks like the catchy 'Runaway' serve as a reminder that Pink never strays far from her trademark fun-loving style.
The album serves as a platform for catharsis, addressing a multitude of personal and global crises. Pink herself contracted COVID-19 during the pandemic's early days and tragically lost two family members to cancer in 2021. In many respects, "Trustfall" is an exploration of coming to terms with loss and navigating life's thorny aspects.
The album opens boldly with 'When I Get There,' a poignant choice for an introductory track. This song, dedicated to her late father, delves into Pink's contemplation about the existence of a heavenly bar where her father awaits her. Lyrically, it maintains a refreshing honesty and even injects a touch of playfulness into its otherwise somber tone.
The title track, 'TRUSTFALL,' takes the album in an entirely different direction with its infusion of EDM and euphoric beats. It embodies the radio-friendly pop style that Pink is renowned for, momentarily suggesting a deeper venture into an electric sound.
"Trustfall" defies easy categorization, as it explores a diverse musical landscape. Songs like 'Runaway' and the album's lead single, 'Never Gonna Not Dance Again,' produced by Max Martin, channel funky, 80s-synth-pop influences, while 'Just Say I'm Sorry,' featuring Chris Stapleton, immerses listeners in the world of full-blooded country music.
In her lyrics, Pink consistently demonstrates her exceptional talent for conveying relatable feelings of anguish and heartache. Her contralto voice remains her signature hallmark, and throughout "Trustfall," we encounter echoes of her earlier, more rebellious musical styles. 'Hate Me' particularly evokes a sense of nostalgia, as it could easily find its place on Pink's 2003 album, "Try This," with lines like "So hate me, hate me / I'm the villain you made me, made me" delivered in a manner reminiscent of her past work.
While Pink takes the lead on most of the album, her choice of collaborators adds an intriguing and somewhat unusual dimension to the music. In addition to Chris Stapleton, Pink partners with The Lumineers for the gentle and enchanting 'Long Way to Go,' while the Swedish duo First Aid Kit joins her on 'Kids in Love,' a song that evokes the acoustic reminiscence of youthful romance.
Alcohol remains a recurring theme in Pink's work, and "Trustfall" is no exception. Pink often sings about shots, bars, or the absence of them, as seen in her 2008 hit 'Sober.' In 'Last Call,' she croons, "It sure was good while it lasted / Right now, we're really intoxicated." Alcohol seems almost like a constant companion, providing stability in an ever-changing world. This approach carries a captivating honesty and maturity.
However, above all else, "Trustfall" lacks the sharp edges that have made Pink's greatest work so memorable. It doesn't bring anything truly innovative to propel Pink forward; if anything, it feels like a retreat into a self-defined comfort zone. Despite a handful of standout tracks, "Trustfall" ultimately leaves you yearning for something more.
I would give this album 2 and a half out of 4 stars.