However, I'm here to gush over the title track for a bit. It's so fucking amazing. I didn't expect to be gobsmacked like that. It reminds me of "Running Away" by Roy Ayers Ubiquity, as well as some fun sprinkles of Sheila E., Control-era Janet, and Rick James. I love the catchy, call-and-response-esque nature of the hook. Like on the last album, this album is so excellent at drawing from these specific inspirations without sounding pastiche. She sounds like a scholar of '70s/'80s funk on this one.
I'm
really happy to read this mini thinkpiece on the title track because I feel it's easily dismissed (as I did at first) as kind of an extended intro or mood-setter, and hasn't really been discussed much.
It
is a mood setter (although there's nothing else so overtly funk on here), but also a fantastic, essential song in its own right? The sheer joy of the live band, the way it drops out and makes you think it's all over, then comes roaring back in as Jessie's repeated vocal hook morphs into this, like, controlled, rhythmic element anchoring the song while everything around it goes crazy. It's a killer advert for James Ford's skill as a producer, the technical finesse made to
sound so spontaneous, like a joyful jam session that just keeps going... while also proving that Jessie really is a student of the genres she pays homage to on this record and the last. Like, she gets it.
A lot of the time popstars will talk about a song or a visual being influenced by something else, and I think that's great but... I can't hear it, so it feels tenuous or even fictional sometimes? Jessie wears her influences
on the track. I personally love that.