First up, the flirtatious and infectious "Can't Dance" is built around a strong, 90s-leaning chorus where Trainor seduces and lures a hesitant potential suitor to the middle of the dancefloor. Taking control of the situation falls in line with Trainor's previous feminist-targeting hits yet the artist here amps up that message by making it clear that she is not afraid of using her sexuality and body to her advantage. It's a fun, confident anthem for women on the prowl.
Trainor won't take "no" for an answer or let anyone ruin her good vibe. She doesn't need an onlooker but a bold participant, someone whose energy can match hers. Not too demanding of an ask, right? "Can't Dance" incorporates a subtle R&B edge to the overall production that the artist has toyed with before (see "NO"), but here it comes off more effortless, a sign that Trainor has leaned on the influence as her trademark.
While the vocal delivery on the opening verse is difficult to bare, Trainor impresses on the easy, breezy hook and truly hits her stride on the golden second verse. "Singing, I'ma teach you a lesson, you just gotta move in my direction, keep your eyes on me, being all anxious ain't an option, baby, I ain't got no plans of stopping," she playfully croons, while straightforwardly making her intentions and demands well known. You either take them, or leave them.
"Can't Dance" does come off as the more appropriate next step in the album's promotion and overall trajectory. It's somewhat similar to its predecessor, just approaches the same subject matter with a more mature lens.
However, it's disco-tinged "Let You Be Right" that narrowly comes out on top in the single release showdown. With a mid-tempo pop production approach that carries Trainor's sweet and youthful vocal performance to thrilling heights, instead of overpowering her, the song becomes an anthem for those who know what it takes to maintain and salvage a desired relationship. Instead of raising her voice, the artist understands that one needs to choose their battles, or possibly lose someone they love.
While "Let You Be Right" might not fit in the confines of the feminist empowering-box, basically Trainor is advocating for the woman to take a more submissive approach in order to please her man, there is a sense of knowledge and sincerity buried within the underlying message. It's a love song with good intentions. As the artist purposefully surrenders her control of the situation on the chorus, a retro/funk, Daft Punk-like beat comes through the speakers to get her mind off the matter.
The track does keep the songwriting to the bare minimum, choosing to instead entice listeners with a radio-ready chorus, yet somehow, a full story is still told. There's a sense of fear, contentment and understanding thrown into the mix. "Baby, don't hate me, you probably think I'm crazy, and it's stupid and foolish, the way we've been behavin'," she sings on the hook, adamant to have confirmation that the relationship will quickly overcome the speedbump and continue to flourish.
"Let You Be Right" hits all the right emotion chords, the relaxed beat sounds perfect for summer-radio domination, and the throwback disco sheen provides an intriguing, new idea for pop that many seem to be neglecting, or simply uninformed about.
Sound off. Is "Can't Dance" or "Let You Be Right" the better of the two new Trainor releases?
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