Rihanna adds ‘Unapologetic’ to successful repertoire

By Jamie Lescht, Arts Editor

Hang on for a minute...we're trying to find some more stories you might like.


Email This Story






Rihanna has returned to the music scene with her seventh album, Unapologetic. This album contains Rihanna’s usual components: dance-oriented songs complemented by the singer’s smooth vocals. To promote Unapologetic, Rihanna launched her 777 Tour—the singer performed seven concerts in seven countries over seven days.

Unapologetic starts off with track, “Phresh Out the Runway.” Its title is full of grammatical errors, matching Rihanna’s incoherent and fragmented rapping. In the bridge, Rihanna makes a small recovery when she finally decides to sing.

Popular track “Diamonds” follows “Phresh Out the Runway” and helps revive the album. “Diamonds” starts with Rihanna’s mesmerizing voice whispering “shine bright like a diamond.” It is in this song where Rihanna is truly able to show off her vocals.

Rihanna then gives listeners tracks “Numb,” featuring Eminem, and “Pour it Up.” Eminem holds his own in “Numb,” but Rihanna’s vocals do not belong with Eminem’s rapping. The two artists were able to successfully collaborate in 2010 with “Love the Way You Lie,” but “Numb” does not hold the same quality. In “Pour it Up,” Rihanna’s commentary on strip clubs creates an uncomfortable track.

The Rihanna the world knows and loves quickly returns with “Loveeeeeee Song,” and “Jump.” With new rapper Future, Rihanna creates a slower track in “Loveeeeee Song,” which sounds similar to her 2011 hit “Take Care.” “Jump” is a typical energetic, dubstep track that electrifies listeners.

Unapologetic‘s momentum continues with “Right Now,” featuring David Guetta, and “What Now.” “Right Now” is similar to the rest of the album’s tracks with its techno-beat, but is nonetheless astounding. Rihanna’s talent is showed in “What Now,” a slow ballad that will give listeners chills.

“Stay,” featuring Mikky Ekko, is easily the best track on Unapologetic, and it’s hard to determine whether Rihanna or Ekko really makes the song. Both artists’ smooth voices mesh well together, but their talent is further recognized when they sing separately.

Unapologetic differs from Rihanna’s past albums in one key aspect—she decided to collaborate with abusive ex, Chris Brown, on track “Nobodies Business.” Although Rihanna may claim that her  relationship with Brown is nobody’s business, this song stirs up a controversy on an otherwise solid album and creates discomfort among fans. The quality of the song is mediocre, but its lyrics make people cringe. Rihanna and Brown both sing that their love is perfect, but the song brings back memories of Brown beating Rihanna. No matter what Rihanna and Brown do with the song, this underlying image will always be prevalent.

Unapologetic returns to its natural course with “Love Without Tragedy/Mother Mary” and “Get It Over With.” “Love Without Tragedy/Mother Mary” is a pleasing track, but it is seven minutes too long. “Get It Over With” is a relaxing, soulful song that resembles Rihanna’s earlier hits.

Rihanna returns to her reggae roots with dud “No Love Allowed,” but quickly follows up with “Lost in Paradise.” Although “Lost in Paradise” trumps “No Love Allowed” it is monotonous and too repetitive of Rihanna’s previous tracks.

Unapologetic ends with “Half of Me,” an empowering ballad where Rihanna takes a stance against all of the judgment against her. Of all the tracks on this album, “Half of Me” best embodies Rihanna’s Unapologetic message of embracing herself.

Although there were a few disappointments, Rihanna can add Unapologetic to the rest of her successful studio albums. Despite Rihanna’s awkward duet with Brown, her other tracks thrive and will not disappoint audiences.