Pink
Funhouse

Eccentric, caricature-like, captivating, gaudy, defiant, and endowed with an irresistible charm. It's hard to remain indifferent in front of a character like P!nk: so, one fine day, I too succumbed to the allure of this rebellious starlet and, without thinking too much, I purchased this album, anticipating catchy tunes, shouted choruses, and a few fuck, bitch, shit... scattered here and there. In short, I expected a pop-rock album without too many pretensions, to consume quickly and then set aside without much regret.

Astonishment, disorientation, wonder: these are the sensations I felt listening to "Funhouse" for the first time, a pleasant, melodic album, even sober and enriched by never banal lyrics, at times even poetic, and by the voice of P!nk, a performer endowed with a gritty and energetic tone that leaves a mark in every song without ever hitting a false note or going over the top. A product constructed at the drawing board? Perhaps, but now I find it really hard to believe.

The only concession to the more rock-star side of P!nk is the single "So What," a funnily tacky and boisterous song made to be hummed or whistled, with a truly remarkable video and lyrics "The waiter just took my table and give it to Jessica Simp(shit)". The real "Funhouse" is, however, composed of ballads of various kinds, some of which are really beautiful in an absolute sense (even more so for a pop singer like P!nk): "Sober," "I Don't Believe You," and "Please Don't Leave Me," the first more pop-rock, the second more romantic, maybe a bit stereotypical songs but undoubtedly light-years ahead of the awful average of her illustrious (?) colleagues. Our blonde with an improbable hairstyle gives her best in more intimate episodes like "Crystal Ball," just an acoustic guitar and her voice, which is sweet and caressing on this occasion, "One Foot Wrong," characterized by an intriguing noir atmosphere and a chorus with strings and horns in which our star takes on the role of a '30s diva much more naturally, elegantly, and successfully than the not-to-be-despised Christina Aguilera, or the exquisite piano ballad "Glitter In The Air" which beautifully closes the album, not forgetting more energetic and guitar-driven episodes like "It's All Your Fault," "Ave Marya," and "Mean," which follow the pattern of "Who Knew" from the previous album "I'm Not Dead." The highest point, however, is represented by the formidable duo "Bad Influence"-"Funhouse," two irresistible extravagant, quirky, and slightly psychedelic pop marches that you certainly won't find in a Britney Spears album.

In conclusion, twelve beautiful, enjoyable songs, almost perfect for their genre and performed with the right melodic verve by a singer who is not only beautiful but also talented and amiable, and who has deservedly earned my admiration and respect. Well done, P!nk.