Nathaniel Clark – A&E Editor

nuc5002@psu.edu

Photo Credit: Dirty Hit

“Hold the Girl,” the second studio album by Japanese-British singer Rina Sawayama, was released on September 16 under Dirty Hit records. This record comes more than two years after the release of her self-titled, smash-hit debut “Sawayama.” Crafted throughout periods of 2020 and 2021, the album clocks in at exactly 46 minutes long with 13 tracks. Production was handled by collaborators Paul Epworth, Clarence Clarity, Stuart Price, Marcus Andersson, and Rina herself.

Starting this review, I would like to quickly report some of my biases. “Sawayama” was, and still is, one of my favorite albums to come out so far this decade. I have this record as my third favorite to come out in the hectic year that was 2020. In essence, “Hold the Girl” was a record that I had a lot of hype around. Luckily, I was not alone either. I know many people who share similar sentiments about Rina’s debut and waited to see what her next project would entail. With the record finally in the public’s hands, does it live up to the immeasurable amount of hype circling its release? I, sadly, have to say no it does not. 

This is not me saying the album is bad, but it pales in comparison to what came before. Part of this drop in quality is due to the record’s overall genre. In every sense of the word, “Hold the Girl” is pure pop music. Rather than the overt rock and experimental flourishes found on her debut, Rina’s choice to go for an explicit pop sound leaves an overall feeling of blandness permeating throughout the project. A clear image of this bland attitude is the production choices. With longtime Sawayma producer Clarence Clarity deciding to take a backseat on this album, the individuals which fill in for him are nowhere near as talented. These producers craft some of the most cookie-cutter pop beats I have heard all year. This leaves “Hold the Girl” sounding stereotypical and of the modern era. 

An example of where this album’s execution falters is on its fourth track and the second single “Catch Me In The Air.” This song feels like it could be featured in a boring rom-com. I have heard this song formula countless times before. While Sawayama and company make a good attempt, the song is way too bland to get me invested in it. Another song in this lane is “Hurricanes.” While the concept of finding light in chaos is very emotional, the choice for a pop-rock sound gives off a stale Kelly Clarkson and Avril Lavigne influence which reeks of overuse. 

While I have been railing on this record for all of this review so far, I would like to say that the majority of “Hold the Girl” is quite good. Lyrically, Rina’s words are powerful and excel with her strong voice and vocals. “Send my Love to John” is probably Rina’s most lyrically deep song so far. Telling the story of a mother’s acceptance of her son’s queerness after years of neglect is delivered perfectly with light acoustic strumming in the background. Following along with the theme is “This Hell,” an LGBTQIA+ anthem that works off a strong country and disco-inspired beat crafted by Clarence Clarity. Clarity’s other production contribution and another high point on the record is “Your Age.” Falling closer in line with the experimental choices on “Sawayama,” Rina sounds like an absolute beast as she releases her pure anger towards the adults who oppressed her as a youth. Additionally, I would beat myself up if I did not mention “Frankenstein.” Partially produced by London rock group Bloc Party, Sawayama details herself being put back together after a breakup with perfectly sounding breakbeat production.

The album that “Hold the Girl” reminds me of the most is “CRASH” by fellow pop musician Charli XCX. “CRASH” was another attempt for a more experimental pop musician, Charli in this case, to go more mainstream, taking a more standard sound. I had a similar reaction to “CRASH” upon release as I did “Hold the Girl,” but the main difference between these records is my desire to listen to them again. While I have returned to “CRASH” a few times and even saw Charli on tour supporting it, I do not see myself doing something similar with Rina and “Hold the Girl.” Even throughout writing this review, there have been periods in which I have just had no desire to relisten to this record.

While, “Hold the Girl” did have an immeasurable amount of hype which it did not live up to, it is indeed a good record. All I can hope for is that Rina returns to the soundscape I fell in love with in 2020.