Jack Harlow’s new album, “Monica,” has captured attention not only for its musical shift but also for the discussions it has sparked. Moving away from his usual style, Harlow ventures into neo-soul, prompting both praise and skepticism. Let’s delve into why “Monica” is more than just a punchline in today’s music landscape.
The Elephant in the Room
Before “Monica” dropped, Jack Harlow engaged with the New York Times’ Popcast to share insights about the album. It was mostly engaging until race took the spotlight. When asked why he hadn’t pivoted to pop or country like many artists do, Harlow claimed he went “blacker” with a neo-soul album. Social media had its field day, with memes likening him to everything from Chalky Braxton to White Thought.
Exploring a New Direction
“Monica,” at roughly half an hour, marks one of Harlow’s most cohesive efforts. The album is a significant shift from his typically light-hearted style. Unfortunately, Harlow’s attempt to label this as his creative maturation falls flat. Yet, despite the clumsy framing, the album’s tracks are some of his best. Collaborations with Norwegian producer Aksel Arvid and musicians like Robert Glasper and Cory Henry add warmth, although the extent of this success depends on personal tolerance for Harlow himself.
Unpacking the Songs
The lead single “Trade Places” features Harlow’s whimsical desire to trade places with mundane objects to be closer to a love interest. It’s undeniably romantic and sincere. “All My Friends,” with Ravyn Lenae’s support, unfolds as a tale of a hopeless romantic ignoring friendly advice. In an era filled with toxic narratives, these songs’ innocence feels refreshing. On “My Winter,” Harlow juggles feelings for two women named Winter and Summer, capturing the tug-of-war between attraction and timing.
Rethinking Expectations
What sets “Monica” apart is its understanding of Harlow’s vocal limitations. The album doesn’t pressure him into becoming a soul veteran overnight. Instead, it leverages texture, arrangement, and pacing—muted keys and easy basslines—to foster intimacy. Earlier works relied on Harlow’s charisma, but “Monica” showcases a more honest portrayal of his artistic range.
Navigating Skepticism
Though “Monica” isn’t the groundbreaking reinvention Harlow envisions, it successfully recalibrates his artistic approach. The album is a more fitting stage for his strengths compared to previous releases. The skepticism often lies more with its marketing than its music. The Keith Oshiro-shot cover, with Harlow resembling a white Musiq Soulchild, sets the tone for critique. Even without the hype, it’s likely the internet would’ve found its humor, yet dropping it quietly might have positioned Harlow as part of the joke.
