Since her debut in 2000, P!nk (Alecia Moore) has successfully paved her way on her own terms as a talented singer/songwriter/performer. She raised the bar with her astonishing acrobatic Grammy 2010 performance of her sleeper hit “Glitter In The Air” and over the past two years, P!nk has extensively performed sold-out performances throughout the UK, rest of Europe, Australia and the U.S, winning over critics and fans. Her previous album catalogue includes Can’t Take Me Home (2000), M!ssundaztood (2001), Try This (2003), I’m Not Dead (2006) and Funhouse (2008).
Even in her early career, when pushed down an uncomfortable RnB route (a misadventure recalled in her later Don’t Let Me Get Me), P!nk’s bolshy rebelliousness and refusal to play sexy were obvious. Sonically, There You Go may be little more than a sleek, skilled pastiche of TLC, but her raw voice and confrontational attitude ("that love s*** just aint for me") were all her own.
It took 2001’s Missundaztood for P!nk to discover her own sound, a fusion of hip hop beats, punky guitars and monster choruses. The belching, brassy Get the Party Started hasn’t dated well, but the other singles remain startling. On the propulsive, bruising Just Like a Pill she alchemised emotional self-destructiveness into a global smash hit, while the downbeat Family Portrait is as wrenching and articulate an account of domestic dysfunction as you’ll find in pop. Towering over all is the savage honesty of Don’t Let Me Get Me, a searing expose of the pressures young women face which still makes most male angst-merchants sound self-absorbed and childlike.
Perhaps such brutal confessionals drained P!nk, as she’s rarely matched their emotional heights since. What Greatest Hits… So Far!!!, proves, however – the hideousness of exclamation marks aside – is her consistent knack for delivering stompingly good, whiplash smart pop songs. Stupid Girls is an addictive and hilarious attack on paparazzi culture and the women who prostrate themselves to it ("What happened to the dream of a girl President? / She’s dancing in a video next to 50 Cent"), while on U + Ur Hand and So What she and Max Martin created two thrilling, all-conquering bubblegum punk songs.
There are lesser moments, too, including the clumsy new drinking anthem Raise Your Glass. But even if she hasn’t quite fulfilled the huge potential Missundaztood suggested, this greatest hits is a punchy reminder of why the pop landscape has been a much more interesting place with P!nk in it.
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