Retrospective Review: The Electric Lady by Janelle Monáe
Janelle Monáe’s second album remains her best ten years later. Let’s revisit.
Janelle Monáe’s debut album, The ArchAndroid, was a groundbreaking masterpiece that combined elements of art pop, neo-classical musical theater, and science fiction. It was such an alluring concept that surpassing it was always going to be a daunting task. The album and her preceding EP, Metropolis, formed three suites of a four-part series.
Throughout these suites, Monáe fully embodied the character of Cindi Mayweather, an android who is being pursued for the crime of falling in love with a human, Sir Anthony Greendown. The third suite left us on the edge of our seats, wondering if Cindi would escape capture and if she would be reunited with Anthony. We were left eagerly anticipating what would happen next and whether there would be a film adaptation of this incredible story.
Monáe’s second album, The Electric Lady, showcases her ability to seamlessly blend reality and fiction in a euphonic clash. Collaborating with her trusted team of Roman GianArthur, Nate Wonder, and Chuck Lightning, Monáe crafts a project that reveals several evolutions. The adventurous blend of genres that characterized her previous work takes a backseat to a more playful R&B/soul sound, allowing Monáe and her esteemed guests to frolic and funk together.
Janelle Monáe got the ball rolling in a manner with the glorious sounds of a meticulously recorded studio orchestra, skillfully embellishing the music with their exuberant flourishes. As the haze dissipates, the first complete song unveils a captivating guest vocal from Prince. Monáe is not one to hold back; she operates with magnanimity and assertiveness, where her generosity subtly transitions into a more forceful demeanor. The “Givin Em What They Love” track exudes a certain allure that entices listeners to surrender and revel in its enchantment.
The circumstances surrounding Monáe’s rise to prominence have occasionally made it challenging to embrace her music fully. She arrived on the scene with such overwhelming endorsement from influential figures in the entertainment industry that it often seemed futile to attempt to connect with her on a personal level. Amidst the grandeur of her intricate and awe-inspiring compositions, a hint of detachment kept us at a distance. Undoubtedly, she was a conqueror, but perhaps she overlooked the essential aspect of winning the people’s hearts.
Additionally, the album sees a shift in focus from Cindi’s storyline to Monáe’s expedition. No longer confined to a scripted role, Monáe begins fighting for her freedom and self-expression. One of the standout tracks on the album is “Q.U.E.E.N.,” featuring the enigmatic R&B artist Erykah Badu. Monáe drops her guard in this song and embraces her uniqueness, while Badu lends her support with a free-spirited fourth verse. As the album layers peel away, it becomes clear that “Q.U.E.E.N.” represents much more than a catchy tune.
Fans of Janelle Monáe’s energetic cuts from her debut will find themselves enamored by the raw punk energy of her single “Dance Apocalyptic.” Monáe embraces an unhinged abandon in this second release, borrowing Juicy J’s catchy phrase from “Bandz a Make Her Dance” to create a manic and exhilarating experience. The accompanying music video showcases Monáe’s explosive performance, even going as far as clogging on David Letterman’s desk until her signature pompadour unravels—a level of exertion typically reserved for her live shows.
The tempo takes a backseat in the third single, “PrimeTime,” as Monáe collaborates with Miguel. Described as the early adventures of Cindi Mayweather and her first love, Joey Vice, this track is a beautiful display of two talented singers harmonizing effortlessly. Perfect for slow dancing, the song’s allure transcends physical boundaries.
Returning to an upbeat tempo, Monáe’s final radio release, “Electric Lady,” features Solange in its cheeky refrain (“Ooh, shock it! Break it, baby!”). The go-go groove of this track is infectious, showcasing Monáe’s ability to create catchy and danceable tunes. Despite being criminally overlooked, “We Were Rock & Roll” is a missed opportunity for a hit. This defiant and percussive anthem celebrates a bygone romance, galloping and whipping through the wind as if to outrun heartache. As always, Kellindo Parker’s guitar work adds an inferno-like intensity to the song.
Though subtly done, The Electric Lady marked Monáe’s initial emergence from the protective guise of Cindi Mayweather. Once unshackled, she celebrates the soulful vibes of the ‘70s, reminiscent of The Jones Girls in “It’s Code,” and channels the regal grandeur of Lauryn Hill during her Miseducation era in “Victory.” Her homage to influential women in her life continues, honoring her mother in “Ghetto Woman,” paying tribute to the legendary beauty, often referred to as the Blacktress, in “Dorothy Dandridge Eyes,” and delving into an escapist reflection titled after the late astronaut and physicist Sally Ride, the pioneering woman who ventured into outer space.
Interestingly, it wasn’t until after Ride’s passing in 2012 that her identity as a queer woman came to light. In retrospect, Monáe had been subtly hinting at her own queer identity long before its official revelation. The packaging of The Electric Lady prominently featured the artistic outline of a voluptuous woman’s silhouette, an image Monáe had been incorporating into her performances as early as 2011.
This particular endeavor marked the final chapter in Monáe’s commitment to donning attire primarily in black-and-white, occasionally accentuated by red. In the music video, or as Monáe aptly terms it, the “emotion picture” for “Electric Lady,” there’s a noticeable shift. It’s a moment where Cindi Mayweather takes a step back, allowing Monáe’s true essence to shine. In this vibrant visual, Monáe fully immerses herself in the rich culture of Atlanta, paying homage to HBCUs and exuberantly showcasing the rhythmic stepping of Greek organizations.
With an afro blowout and a revealing midriff, she hinted at her readiness to embrace a broader spectrum of colors, a sentiment she would soon affirm by proudly identifying as pansexual shortly before unveiling Dirty Computer in 2018. In 2022, Monáe took another significant step by publicly identifying as non-binary and favoring both she and they pronouns. It’s a testament to the profound humanity within the android persona.
The reggae-infused melody of “What an Experience,” the closing track on The Electric Lady, hinted at Monáe’s evolving exploration of Caribbean musical influences in her latest work, The Age of Pleasure. The Electric Lady expanded upon the Cindi Mayweather storyline within the Metropolis concept, contributing suites four and five to the seven-part series, which remains unfinished. Monáe is drenched in a life that defies patriarchal norms, fearlessly taking the lead in feature films, baring their true self, and engaging on nationwide tours. Monáe might be the culmination of our collective excursion in many ways.