When Adele’s fourth album, “30,” debuted this week and had the year’s greatest debut week, it was no surprise, since the British pop-soul torch singer remained the kind of multifaceted pop phenomenon that may no longer be possible in an era of algorithmic sorting.
Adele has managed to hold on to this position by releasing music that doesn’t feel constrained by current tastes. Her personal life (her recent divorce and her path into parenthood) and her songwriting interact on “30,” even if the changes are subtle.
Her production on some songs feels in conversation with modern R&B, while her lyrics has previously scanned as more abstract and depersonalised.
With Adele making a comeback and a few witty aside on how the tabloid world has infiltrated her timeless sound, the Popcast this week explores how Adele’s voice and life cross in positive ways. A few remarks on Virgil Abloh’s life and work are also in order.
According to the chief pop music reviewer at The New York Times, Jon Pareles
Pitchfork Features Editor Jillian Mapes
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Our ears are open for your thoughts and ideas! Send your feedback to [email protected]. On Twitter, you can find Jon Caramanica at @joncaramanica.