Selena Gomez is a figure who has pitched herself comfortable focal point of the superstar Venn graph: This is a lady who, notwithstanding her effective vocation as an artist, supports everything from Coach to Coca-Cola, has acted in healthy Disney TV programs and restless Harmony Korine films, demonstrated in Louis Vuitton crusade promotions and furthermore planned garments for Kmart. Never precisely popular and never precisely ageless, she rides the center. With her music, she has unquestionably had a couple of bangers: “Come and Get It” will get you through a turn class, and “Cherish You Like a Love Song” is currently a clique karaoke exemplary. In any case, if her tunes have dependably been truly great, they’ve never been truly and really awesome. The hit she has on the radio right now is a genuinely mysterious EDM-lite number with Kygo called “It Ain’t Me,” a title that lone makes one wonder: Well if this ain’t you, Selena, what and who is?
Ideally, it’s the craftsman we hear on “Terrible Liar,” a fresh out of the plastic new tune Gomez composed close by Julia Michaels and Justin Tranter. Taking a gander at the single’s cover, shot by Petra Collins, you may build up some genuinely appalling desires concerning what you’re going to listen. In what appears like a reference to a newspaper firestorm over her current stretch in recovery, Gomez is wearing healing center swathes and looking helplessly at the camera. In any case, “Terrible Liar” isn’t that profound. The all-mood track is a straightforward suggestion, inspecting the barbed, famous Tina Weymouth bass line from Talking Heads’ darling “Psycho Killer” for a light, spritzy tune about sentimental foresight. What’s more, it works. Truly well. Notwithstanding catching an underwriting from David Byrne.
Her peers Katy Perry and Miley Cyrus, who have in the past consumed brighter than Gomez, are of late scattered and wallowing looking for new personalities, abandoning the toon characters and twerk provocateurs they once were, uncertain of who to be. Cyrus is going for an average Shania-lite sound with her new single “Malibu,” while Perry has, lamentably, been experimenting with woke disco and Migos-helped trap. Presently, Gomez’s reliable approachability is starting to feel like a strong quality. Perhaps she’s had it right constantly, the famous tortoise to the distinction bunnies of the world, gradually and systematically edging through the race, one foot before the other, until she catches a win. Which is correctly what “Terrible Liar” is: A triumph for an uncomplicated pop star who makes uncomplicated popular music, and a fizzy fun track that will sound as great all mid year as the Gomez-supported Coke you immerse your rum.