Life comes at you fast. One minute you’re peddling your new brand of ‘purposeful pop’, taking a swipe at a morally bankrupt capitalist society and gearing up for a full woke reinvention, and the next you’re collabing with a bunch of full-blown, actual real-life gay haters. It comes at you fast, life, it really does.
What’s really frustrating about Katy Perry’s inclusion of rap group Migos on new single ‘Bon Appétit’ is that they really serve no purpose. Their input is minimum, basically superfluous, making their feature slot all the more annoying. Perry could have released this – to be honest – very good pop song, without including this gaggle of homophobes, and yet she didn’t. Why? It’s impossible to really know, but it’s safe to say the era of Woke Katy Perry™ is already over. What a ride it was.
If we remove Migos from the equation, ‘Bon Appétit’ is a great song. How annoying. Perry sounds absolutely resplendent here, her vocals reigned in and cool, glossy and polished. The synth arrangement is simple but effective, not opting for the overblown, bombastic approach that so many Perry singles suffer from, instead keeping it repetitive but restrained, very 2017.
‘Bon Appétit’ is best enjoyed without paying too much attention to the lyrics, this being a track composed almost exclusively of dodgy, and at times downright gruesome, food-as-sex metaphors. “Got me spread like a buffet,” Perry purrs, leaving you feeling more queasy than aroused. Other highlights include “Fresh out the oven / Melt in your mouth kind of lovin'” and “Sweet tooth, no tooth fairy / Whipped cream, no dairy.” I don’t know what kind of hellish restaurant this is but count me out.
Overall, ‘Bon Appétit’ is a song that doesn’t quite satisfy your appetite – which is frustrating, given that it really should. Unfortunately, the inclusion of uber-problematic trio Migos is a little like a vinegar dressing atop a fruit salad – you can see the good stuff is there, but you can’t really enjoy it for all the crap on top. Their guest feature is a serious oversight by Perry, one that is likely due to ignorance but that should have been flagged up by some label skivvy along the way. Ironically, while Migos were likely shipped in to make ‘Bon Appétit’ more radio – and chart – friendly, their inclusion has perhaps had the opposite affect, souring what is otherwise a perfectly sweet slice of pop.