WATCH: Katy Perry hits the road in new ‘Harleys in Hawaii’ video

“Harleys in Hawaii” marks the third single from the pop powerhouse as lead artist this year.

For the occasion, Perry co-wrote the song with fellow chart-topper Charlie Puth as well as Johan Carlsson and Jacob Kasher, all of whom she collaborated with on her recent single “Small Talk.”


The songstress also released the accompanying music video for “Harleys in Hawaii”, which was helmed by Barcelona-based directors collective Manson. The visual shows Perry hitting the roads of Hawaii on a Harley, stopping along the way to drink cocktails and sing karaoke at a tiki bar.

“Let me run my fingers through your salty hair/Go ahead, explore the island vibes/So real that you can feel it in the air/I’m revvin’ up your engine,” she seductively sings in one of her verses.

She ends up meeting a mysterious biker with whom she drives away at the end of the video.

“Harleys in Hawaii” arrived a few weeks after the previously issued singles “Small Talk” and “Never Really Over” — which will likely appear on Perry’s forthcoming new album.

The yet-untitled album will mark the Grammy-winner’s sixth studio effort, following her 2017 “Witness”.

Earlier this month, Perry also announced that she filed an appeal of the July decision that found her and her label liable for $2.78 million (P142 million) to Christian rapper Flame for plagiarizing elements of their 2013 hit-song “Dark Horse” from his 2008 “Joyful Noise”.

As Variety reports, part of the appeal relies on the relative popularity of Flame’s hit, pointing out that “[p]laintiffs did not offer proof of one single digital or brick-and-mortar sale of ‘Joyful Noise’ or [the album] ‘Our World Redeemed’ and admitted that they have no such evidence.” CL/JB

source: entertainment.inquirer.net

Music Review: The struggle is real for Katy Perry

NEW YORK — She once roared. But now, we’ll just call it meowing.

Katy Perry, one of the top voices in contemporary pop over the last decade, limps into her fourth album with a collection of songs that don’t have a cohesive feel or message. It’s a random hodgepodge of tracks that don’t spark or shine; some of the tunes are cute, but most are forgettable.

“Witness” doesn’t offer a fresh, or refreshed, Perry — the only thing new about her is that haircut.

Vocally, she doesn’t sound inspired or inspiring. And while “Witness” isn’t expected to be the year’s best album, what was expected was some fun, killer pop hits.

Lead single, “Chained to the Rhythm,” is watered-down reggae pop without any real reggae flavor, and current single, the Nicki Minaj-assisted “Swish Swish,” is a miss-miss.

“Witness” is Perry’s first album without mega-producer Dr. Luke, who is currently at war with pop singer Kesha over sexual abuse claims (he denies her allegations). Max Martin, Dr. Luke’s former mentor, is still present though, along with big names like Sia, Jeff Bhasker and DJ Mustard.

But none of them come to Perry’s rescue. The beginning of “Hey Hey Hey” sounds like “Dark Horse,” Perry’s last No. 1 hit, and the hook echoes Avril Lavigne. “Bigger Than Me” comes off like a leftover track from her 2013 album, “Prism.” And the title track is a bore.

Perry finds the right momentum on the dreamy “Tsunami,” produced by Mike WiLL-Made It; “Bon Appetit,” chosen as the official second single for mere minutes, is upbeat and catchy; and “Power,” with little lyrics, is a shining effort thanks to multi-instrumentalist Jack Garratt’s layered, experimental sound.

But overall, “Witness” falls short. The album’s songs are almost as awkward as Perry’s recent actions, from the weird dancing onstage with rap group Migos to her “joke” about comparing her hair to former U.S. President Barack Obama. It is also the first time Perry is launching an album without a monster hit behind her.

“Swish swish bish/Another one in the basket,” she sings. “Witness” is more like an air-ball.

source: entertainment.inquirer.net