Camila Cabello’s C,XOXO was released today and she sounds totally different

The debut of "I Luv It," the lead single from Camila Cabello's fourth solo album, introduced a fresh element to the 27-year-old artist's career: musical controversy.

Since her 2017 hit single "Havana" sold an impressive 10 million copies in the US, Cabello has carved out a niche in creating easy-listening, low-risk Latin-American pop music, appealing to both Radio 2 and Radio 1 audiences alike.

The traits of the eager-to-please TV talent show contestant she once was still seemed to linger—Cabello, who initially gained fame as a member of the US X Factor semi-finalist girl band Fifth Harmony, revealed in a 2019 interview that she avoided swearing in her lyrics to be “a good example for younger girls”.

Camila Cabello showcases a new sound in C,XOXO

"I Luv It" had a distinctly different sound: a short burst of intentionally repetitive and tinny hyperpop that teetered on the edge between catchy and irritating.

Additionally, some people noted that it sounded quite similar to Charli XCX’s 2017 single "I Got It." If you're identifying influences, the controversial chorus also appears to have a hint of Ariana Grande’s "No Tears Left to Cry" in its makeup.

One of these voices belonged to Charli XCX herself, who posted a parody of Cabello's announcement video on TikTok, swapping "I Luv It" with "I Got It" in the soundtrack. This sparked the predictable online clash between diehard fans.

However, it seems that some controversy might be precisely what Cabello is aiming for this time. It's evident that a significant shift in strategy has occurred, possibly due to the relatively slow sales of her previous album, "Familia."

In "C,XOXO," you won't find a sentimental ballad akin to 2019's "Señorita," her multi-platinum duet with then-boyfriend Shawn Mendes (co-written incidentally by Charli XCX). The closest you get are tracks like the piano-driven "B.O.A.T." or the somewhat reminiscent "June Gloom," which hints at Lana Del Rey's influence right in its title.

In "C,XOXO," you won't find a sentimental ballad akin to 2019's "Señorita," her multi-platinum duet with then-boyfriend Shawn Mendes (co-written incidentally by Charli XCX). The closest you get are tracks like the piano-driven "B.O.A.T." or the somewhat reminiscent "June Gloom," which hints at Lana Del Rey's influence right in its title.

Being a role model for younger girls doesn't seem to be her primary concern anymore: now it's all about lyrics like "Shawty’s the shit," “I guess I’ll fuck around”  and "Does she get this wet for you, baby?"

Camila Cabello’s C,XOXO features Drake and PinkPantheress

A standout track titled "Hot Uptown" with Drake highlights the album's strongest melody, but it's swiftly followed by "Uuugly," another Drake collaboration where Cabello is barely present: she adds just two words of harmonies and a single line of ethereal backing vocals.

She's completely absent on "Pink XOXO," a short interlude featuring PinkPantheress. Given PinkPantheress's typically concise style, it feels like a track from her own repertoire inserted into someone else's album. It's surprisingly good with its charming melody, but it also feels strangely out of context—leaving one to wonder why it's included here at all.

Much as you want to applaud an artist for taking risks in the risk-averse world of mainstream 21st-century pop, you find yourself asking a similar question of Cabello herself. She often sounds slightly uncomfortable, as if she’s speculatively trying on an outfit that doesn’t quite suit her. 

The monotone rap delivery on "Twentysomethings" appears to be moving at a pace that challenges her ability to keep up. There's a constant worry she might lose the beat, making the listening experience a bit more tense than intended.

When Lil Nas X appears briefly on "He Knows," he not only transforms the track but also completely dominates it. His performance exudes confidence and swagger, contrasting noticeably with the main artist's presence.

Cabello frequently comes across as a guest rather than the focal point on her own album, navigating through songs that don't quite showcase her distinct identity. It seems she's not fully embracing the dramatic musical change, leaving her like an artist displaced within her own artistic landscape.