Alessia Cara Grew Up with Us: How Her Sound Has Matured

Grammy winner Alessia Cara began her music career at just 13, when she was signed by Def Jam Recordings. Her young start meant that she’s grown up with her Gen Z listeners— and her music, too, has matured. Her former pop anthems have matured into hearty, pop and r&b, with jazz and blues undertones, especially in her new album, “Love & Hyperbole”.

Cara’s original sound was angsty, honest, part of an “anti party” movement in pop. Her rise resonated with the socially anxious teen, especially in her grammy nominated song “Here”, where she penned herself as an “antisocial pessimist”. But now, Cara has shifted her tone, and is rather relying on the romanticism of adulthood. Her new album, as she puts it, “presents a more rich and sophisticated version” of herself.

A huge influence to Cara’s sound is her Italian-Canadian background. She grew up speaking Italian at home with her immigrant parents and listening to both North American and Italian pop. Italian pop is known for its catchiness, romance, and reverent vocals, with undertones of jazz and blues— which are all features of “Love & Hyperbole”. Cara’s passion for the organic quality of 50's, 60’s and 70’s pop, too, is present in the album, and contributed to her use of live musicians on all her tracks.

In “Love & Hyperbole”, hit track, “(Isn’t It) Obvious”, features a solo from John Mayer, one of Cara’s lyrical inspirations. Cara’s collaboration with the powerful blues guitarist was a rewarding part of her album’s process; she even wishes his solo had lasted longer. Mayer’s openness even motivated Cara to want to collaborate with more artists on future projects— and break out of her shell the way we have always seen in her punchy lyrics and vibrant vocals.

“(Isn’t It) Obvious” is a faster paced anthem to the longing for love and affection. It is an urgent proclamation of pent up emotions, and the synth reflects the lyrical matter. The repetitive nature of the chorus feels like a never ending sequence of falling in love, which Cara reflects in the calming guitar solo by Mayer. There is a back and forth, a pining, in “(Isn’t it) Obvious” which makes it stand out against the rest of the album.

Cara’s “mini worlds” on “Love & Hyperbole” are a central part of her album. She was excited to create small visuals for each track, something Cara has never done before. The album’s tender care with each individual song shows through— it’s an album about more than a hit single to sing in the car— it’s really the life story through three years of womanly time, a catalogue of heartbreak, growth, and finding love. Cara implements easter eggs and metaphors to develop these themes, as she explores a new way to think of the album as a concept.

Cara’s commitment to her fanbase is kind and loyal; the visuals per track aren’t just for her, but for her fans to discover different sides to each song. Her recent pop-up performances in Los Angeles, New York City, and Toronto have developed her close fan relationships. Cozy cafes held her meetups, which allowed fans to chat and get a sneak peek of “love & Hyperbole” before its release. The style of the shows allowed for Cara to perform in an intimate setting, reminding her of former teen days performing at bars, town shows, and the mini stages of the beginning of her career.

In “Left Alone”, the second track on the album, Cara’s sound is moody and downcast. The song begins in the hope for learning lessons, setting up a potential reward for listeners. A calming blues guitar riff layers the track in a reflective reverie, creating anticipation for what’s next. In contrast, the next track, “Dead Man” begins with mysterious piano and a dark mood. The visuals are shadowed, making it hard to see Cara’s face. But her vocal range is ever present; this track showcases her span like never before. Loud, rock-like drums pair with her strong voice. “Nighttime Thing” is increasingly soulful, with the contrast of energetic guitar riffs and a visual of an excited Cara jumping on and down on a plush bed. It develops our plot, that there is a beloved to examine.

To perpetuate this narrative, “Fire” serves as the slow love ballad of “Love & Hyperbole”. It is an acoustic guitar, blues centered song, that feels straight out of Mayer’s Y2K “Continuum”. The ooey-gooey romance of the lyrics, which refer to a beloved “golden boy” help to close the album’s chapter on its lovers, and allows a pivot to Cara’s personal journey to close.

Stripped back version of Slow Motion

In “Slow Motion”, Alessia Cara expands what she calls the “security” of a loving bond. She uses her lyrics to parallel herself to a girl in a movie: the hero, the main character. The bold, upbeat drums and guitar, the happy, centering theme of the song is a new and exciting sound for her. Too, “Left Alone” is a main character anthem, with its empowering imagery and slower, but still rapid drums, and r&b feel.

The album ends on an enthusiastic note with “Clearly” as its final track. “Clearly”’s gentle major chords and bumping synths reiterates Cara’s growth and optimism, her commitment to starting over. By the last line, we feel that Cara has developed significantly as a person, and tremendously as a creative. She is all grown up.