Alicia is the seventh studio album by American singer-songwriter and pianist Alicia Keys. It was primarily recorded at Oven Studios and Jungle City Studios, both in New York, after her 2016 album Here and her judgeship on the singing competition series The Voice, before being released by RCA Records on September 18, 2020. Written and produced largely by Keys, the album also features songwriting and production contributions from Swizz Beatz, Ryan Tedder, Johnny McDaid, Ed Sheeran, and the-Dream, among others. Keys collaborated with more artists on the recording than in her previous albums, enlisting vocalists such as Sampha, Tierra Whack, Diamond Platnumz, Snoh Aalegra, and Jill Scott for certain tracks.
Alicias mostly low-tempo and melodically subtle music reconciles the experimental direction of Here with her earlier work's bass drum-driven R&B and piano-based balladry. Throughout, individual songs incorporate sounds from a wide range of other genres, including orchestral pop, progressive soul, funk, ambient, country, and Caribbean music. Thematically, they explore the concept of a multifaceted identity, sociopolitical concerns, and forms of love within the framework of impressionistic lyrics, personal narratives, and self-knowledge. Keys has described the album as therapeutic and reflective of greater introspection, and as expressing ideas and feelings of hope, frustration, despair, ambivalence, and equanimity shared in her memoir More Myself (2020), which was written during Alicias recording.
The album was originally scheduled to be released on March 20, 2020, then May 15, before being delayed indefinitely in response to the COVID-19 pandemic. It was marketed with an extended traditional rollout campaign that featured various media appearances by Keys and the release of seven singles, including the Miguel duet "Show Me Love", "Time Machine", "Underdog", and "So Done" (with Khalid). After a surprise announcement of its impending release in September, Alicia debuted at number four on the Billboard 200 in its first week and became Keys' eighth top-10 record in the US, while charting in the top 10 in several other countries. However, it fell off the US chart a few weeks later.
A critical success, Alicia received praise for Keys' nuanced vocal performances and the music's broad appeal, while her thematic messages were considered balanced, healing, and timely against the backdrop of unfolding world events. The singles "Good Job" and "Perfect Way to Die" resonated especially with the importance of essential workers during the pandemic and with the 2020–2021 racial unrest over police brutality in the US, respectively. The album also won the Grammy Award for Best Immersive Audio Album at the 2022 Grammy Awards. In further support of the album, Keys performed in concert from June to November 2022 and in May 2023 on the Alicia + Keys World Tour, which had been postponed from 2020 and 2021 due to the pandemic.
Background In 2016, singer-songwriter Alicia Keys released her sixth studio album Here, a raw departure from the more sophisticated and anthemic R&B music of her first five albums. Sung with tougher vocals and against edgy sounds from hip hop, funk, and jazz, Keys' topical lyrics for the album explored themes beyond the uncertain romantic relationships that predominated her earlier music, such as sexuality, addiction, poverty, and environmental degradation. In another departure from her perfectionist inclinations, the singer stopped wearing makeup that year. After Heres release, she took a break from recording music and served as a coach on the singing competition series The Voice. She took a leave of absence from the show's 13th season in 2017 to focus on making Alicia.
Recording and production
Keys reportedly returned to Oven Studios, her personal studio in New York City, to record Alicia. However, several other studios were later credited for its recording, including NYC's Jungle City Studios, where recording for 14 of the album's 15 tracks took place. The studio was founded by Ann Mincieli, Keys' longtime recording engineer and studio director who also engineered much of Alicia. The album was produced primarily by Keys, with alternating contributions from an assorted group of record producers and songwriters, including her husband Swizz Beatz, Ludwig Göransson, Ed Sheeran, Tory Lanez, and The-Dream.
For certain songs, Keys collaborated with guest vocalists such as Tierra Whack, Jill Scott, Miguel, Sampha, and Khalid. A few songs had been originally recorded for Here, including the Sampha duet "3 Hour Drive" (recorded in 2015) and "Love Looks Better", which underwent various unsuccessful takes with different producers before Keys revisited the song on her own with contributions from Ryan Tedder. "It was Alicia, in the end", as Mincieli recounts, "pulling few pieces from Ryan and added [sic] some things on her own for you to hear her lyrics, vocals, and emotions without all the scratches, scribbles, stutters, and production that was overtaking the song". By May 2017, the album had been almost "halfway" finished, according to Keys.
During Alicias recording, Keys wrote her memoir More Myself: A Journey (2020), reflecting on her life and career up to that point. In its final chapter, she explained how the album's creative process encouraged more collaborations than in her earlier recordings, when she had preferred to work alone from fear of being misunderstood, controlled, and vulnerable as an artist. She continued writing the memoir into May 2019, by which time the album was being completed. The singer said that working on both projects served as "the best therapy" ever for her, lending her a greater sense of artistic freedom and desire to collaborate with others.
Music Alicia continues in the experimental manner of Here while revisiting the distinctive piano-based balladry and bass drum-driven R&B of Keys' earlier music. However, it avoids the emphatic hooks and motifs typical of her past. Instead, the album's "subtly melodic soul" experiments are embellished with ambient, electro, and textured sounds from music sequencers, according to A. D. Amorosi of Variety, who adds that Alicia is "still a singer and pianist's album" but one that renders Keys' instrument in new forms. The music throughout has largely subtle and downtempo dynamics, except for "Love Looks Better", which is produced in a loftier pop-soul style. According to The New York Times chief pop critic Jon Pareles, the music "often hollows itself out around her, opening deep bass chasms or surrounding sparse instrumentation with echoey voids".
The album's direction, which Keys describes as "genreless", is oriented toward evoking a particular mood rather than conforming to a singular genre. In the process, individual songs incorporate elements of particular styles, including progressive soul ("Truth Without Love"), old-fashioned funk ("Time Machine"), dance-pop ("Authors of Forever"), Caribbean folk music ("Underdog"), dub ("Wasted Energy"), hip hop ("Me x 7"), downtempo R&B ("Show Me Love"), folk and country ("Gramercy Park"), and chamber music ("Perfect Way to Die"). Keys says that "Time Machine" is influenced specifically by the funk rock band Funkadelic. "Me x 7" has upbeat, sparsely produced rhythms in the manner of its guest mumble rapper Tierra Whack's solo work. A section of Alicias middle tracks substitute Keys' piano for acoustic guitar within a more free-form style of neo soul. On "Jill Scott" (titled after its guest vocalist), Keys sings in a high register vocal similar to the characteristic style of Scott, who provides a brief spoken word interlude.
Altogether, Alicia is described by The Line of Best Fit writer Udit Mahalingam as a collection of "orchestral pop, acoustic soul, and jittery contemporary R&B", while Nick Smith of musicOMH observes "sonics [that] are manifold", encompassing "reggae, R&B, funk and even country". In comparison to Here, Clash magazine's Shakeena Johnson says it is "less pop and more R&B". Although deeming it often a work of contemporary R&B, Helen Brown of The Independent believes the album conveys traditional soul melodies "through some stranger – and certainly more eclectic – sounds than [Keys has] tried before".
Lyrics
Alicia is described by Keys in More Myself as "a musical exploration of identity – both my own and ours collectively". Continuing in the socially-conscious thematic vein of Here, her impressionistic lyrics and personal narratives throughout the album make sociopolitical connections between the singer's view of herself and the world around her. The album's pervading theme of self-knowledge departs from the thematic focus that had made Keys popular in the past, specifically her meditations on romantic relationships, strong families, and female empowerment. Alicia explores and conceptualizes identity similarly to More Myself, mirroring different dimensions of her relationship to people as a whole; as Keys explains, "what makes us up to be who we are, and the expectations that are put upon us mostly from outside sources – societally or from your family, or from those people that you love, or yourself".
For Keys, writing Alicia encouraged greater introspection and acceptance of her dichotomous identity, the calm and rational side of which she had largely shown up to that point. "I never realized how much I relied on only one side", she explains. "How much I had hidden away the parts that expressed anger, rage, sensuality, or vulnerability." Reflecting on this theme in More Myself, she calls herself "strong and fierce and brave, no doubt", before qualifying that, "I'm also someone who has found myself on the bathroom floor, boo-hooing and feeling vulnerable. I'm also the woman who doesn't always know how to rise to my feet and take the next step." In Pareles' observations, the singer advocates equanimity throughout the album, "but it's often tinged with ambivalence", reflecting "misgivings, recriminations and regrets" shared in her memoir. Similarly, musicOMH journalist Nick Smith observes feelings of "hope, despair, frustration and even ambivalence" in her narratives.
Alicia opens with "Truth Without Love", which puts forth the idea that truth in society has become "elusive". The next song, "Time Machine", addresses fears of introspection and advocates the pursuit of free thought, rather than longing for the past, as a means to achieve peace of mind. "Underdog" is an ode to "young teachers", "student doctors", and "single mothers waiting on a check to come". Subsequent tracks advocate more positive pleas for hope and change in the world, such as "Authors of Forever". The lyrics to that song promote unity and an understanding of the multifaceted nature in individuals, with Keys reasoning in the lyrics that, "We're here to make meanin' for as long we're breathin' / And it's alright / Whoever you are / It's alright". She regards the track as representative of the album's themes, citing the refrain in particular.
A more desperate sense of hope features in the album's closing series of unadorned piano-and-vocal performances, "Perfect Way to Die" and "Good Job", which thematize police brutality and essential work, respectively. The former is written from the perspective of a mother in grief over her son, who was shot to death by the police, while the latter is written in tribute to "the mothers, the fathers, the teachers that reach us", and other people simply trying to get through an ordinary day. The bonus-track ballad "A Beautiful Noise", featuring Brandi Carlile, advocates voter turnout in the context of a social movement.