She was almost on the verge of making it, Anitta from Rio De Janeiro. After years of publications under Warner Music Brasil, the stars had aligned and the time had come to cross the national border, ideally completing that journey never finished by her natural inspiration, Ivete Sangalo. Through an exhausting battle advertising, and collaborations already scattered all over the world (among the Italians: Fred De Palma, Damiano David and Sfera Ebbasta), “Versions Of Me” (2022) was ultimately supposed to be the album of international consecration, the birth of a new Shakira capable of combining its roots – in this case, the declinations of Brazilian funk – with current Hispanic and English-speaking fashions such as dance, reggaeton and hip-hop, even some stretchesafrobeatin short, the usual things that travel well on streaming platforms.
But things didn't go as expected, starting with poor international sales and the failure to include at least one winning single, as was the cyclone “Whenever, Wherever” for Shakira way back in 2001. Managerial disagreements soon arrived , disappointed fans have launched vituperation against the record company in a way not seen since the days of Fiona Apple, but the market always wants its share; throughout 2023, a bitter Anitta announced the end of her contract with Warner, and here we are from point to point.
Of course, not all seems lost. Under license with another giant like Republic, the daring thirty-one year old Carioca is currently making the rounds again talk show Americans, intent on capitalizing on past efforts, which had seen her alongside Madonna, Cardi B, Nicki Minaj, Snoop Dogg, Missy Elliott, Major Lazer and many others. Between good looks and an ambition strengthened by a biting sense of challenge, Anitta continues to believe in her own brands with the cheek of a Kardashian.
It is therefore strange to note how “Funk Generation”, despite a trilingual system, represents rather a homecoming; slim and lively, dry and foul-mouthed, he leaves aside Western grandiloquence to become the rough vernacular of a working-class neighborhood. In Brazil, the concept of funk (which has nothing to do with the US version) can be divided into dozens of sub-currents, both in terms of regionality and use of themes and instrumentation. In Rio, the so-called “carioca funk” has taken root over the last four decades, and bailes funkfrom popular festivals often held directly in the street, have ended up giving their name to a wilder, mixed-race and exportable musical tradition, as well as rich in connotations queer.
But it is here that “Funk Generation” shows its limits, because its interpreter struggles to gain the upper hand on a series of ideas that are already not new from the start and which would have needed much different treatment to take flight.
The attack of “Lose Ya Breath” tries, which aggressively mixes screams and Middle Eastern inserts with Gwen Stefani-style cartoon skits, but without the imaginative production precision of a Pharrell, the piece struggles to excite as much as it could. The very tense “Funk Rave” follows, certainly very effective if thought of solely as a floor filler in the wee hours of the night, but here too one has the impression of observing a rudimentary plot of “On The Floor” by Jennifer Lopez & Pitbull.
“Funk Generation”, in short, stomps and shouts between baile funk, Miami bass And boom bap, bringing everyone to the streets during the carnival, but it remains difficult to think of it as authorial evidence of a pop star intent on creating a recognizable profile for himself. Her voice, although functional, is lost in the mix, any other backing vocalist could conduct the work without the listener noticing – in addition to the beatpieces like “Fria”, “Meme” or “Cria De Favela” slip away as impersonal soundbite.
The most memorable moments occur when the rhythmic flow slows into the melodica bachata “Love In Common”, and then starts again in a plush version club-rap with “Aceita”, or when the compelling “Double Team” still arrives as a surprise, in a trio with Brray from Puerto Rico and Bad Gyal from Spain – a very vulgar piece, but handled with irony and that puta-puta-puta that never gets out of your head. Really little stuff, though, the duet with Sam Smith on “Ahi”. And for an album dedicated to dance and the sensuality of the body, the impression that it is only trite pornography hangs heavy on “Grip” and above all “Savage Funk” (have you ever listened to Kim Petras' “Slut Pop”? Proceed to your risk and danger).
Apart from reaching the top of the charts in Brazil, where Anitta continues to be a major star, “Funk Generation” is also struggling to generate particular attention. Anitta wouldn't need the world's approval to continue singing the rhythms of her people, but since she's trying in every way, it's reasonable to wonder if this is the right path. With carefully designed but mass-produced products, the Goddess of Fortune is more decisive than management behind – in short: will TikTok's algorithms be able to bring out some of these pieces and transform the author into the popstars global of your dreams? We will see; for now, it is painful to note how, having reached album number six, Anitta continues to give too little personality surrounded by so much noise.
Of course, this summer 2024, at the disco or at Pride, a passage of “Funk Generation” seems obligatory, we might as well go prepared.
05/19/2024
Antonio Santini for SANREMO.FM
