Glory is the ninth and final studio album by American singer Britney Spears,released on August 26,2016,through RCA Records. Developed over a two-and-a-half-year recording period following the release of Britney Jean (2013),the album marked a shift toward a more artist-driven process,with Spears taking a more active role in selecting material,shaping concepts,and contributing melodies. Dissatisfied with early sessions,she enlisted executive producer Karen Kwak,after which the project was reoriented toward a sound that recalled elements of her earlier work while prioritizing creative freedom and personal interest.
Glory is mainly rooted in modern dance-pop with prominent R&B and hip hop influences,as it moves away from the overt EDM approach of her previous album. Its production emphasizes lighter,nocturnal textures and places greater focus on Spears' vocals. Lyrically,the album is heavily centered on sexuality,as it frequently addresses the listener directly and depicts intimate scenarios across its tracklist. The songs explore a range of pop styles,including electro-pop,disco,soul,reggae-inspired rhythms,and Latin and Southern influences.
The album was preceded by the release of the lead single "Make Me",featuring G-Eazy,followed by "Slumber Party",which later received a remix featuring Tinashe. Spears promoted Glory through televised performances,interviews,and festival appearances in the United States and Europe. In 2020,the album was reissued in standard and deluxe forms,which added previously unavailable tracks and coincided with a resurgence in popularity driven by a fan-led campaign.
Upon release,Glory received generally positive reviews from critics,who frequently highlighted its production and Spears' more engaged vocal performances,with some describing it as a return to form after her previous releases. Commercially,the album debuted at number three on the US Billboard 200 and achieved top-five or number-one placements in numerous international markets,becoming one of Spears' strongest-performing albums in several countries since the late 2000s.
Background and recording
"Pretty Girls" wasn't original. Britney wanted to do things that were fresh and unexpected this time. There was never a moment where she was given a song, and anybody said, "This is a hit. You have to sing it". Britney pursued the songs she wanted to do for herself. She came up with concepts and melodies. It's her baby. It's like being an athlete. If you're doing it that much, you're getting yourself into shape. She was always ready to work during the album sessions, and it was very important to her to be done by a certain time so she could pick up her boys from school.
— Executive producer Karen Kwak describing the recording process of Glory.[1]
In August 2014, it was announced that she had renewed her contract with RCA Records, and that she was writing and recording new music.[2] The recording process for the album took two and a half years,[3] and 30–40 songs were recorded for the album.[4] Six months into the recording of the album, Spears was dissatisfied with the results.[3] Karen Kwak was then brought onto the record as an executive producer, following the release of "Pretty Girls", and helped Spears to find "the most fun people to write with".[3] Since Kwak wanted to recall the sounds of Spears' previous albums, Blackout (2007) and In the Zone (2003), she chose the producers based on it.[5] Talking about the album, Kwak stated that Spears pursued what she had desired for "herself", and then she "came up with concepts and melodies".[1] In an interview with Billboard on March 12, 2015, Spears said that she was working on a new album "slowly but surely".[6]
In April, Matthew Koma confirmed that he had worked on material for the record.[7] In June, Spears was pictured working with Sam Bruno; however, none of this material ended up on the record.[8] A month later, Spears was again photographed working with writers Chantal Kreviazuk and Simon Wilcox alongside producer Ian Kirkpatrick.[9] During the same period, DJ Mustard announced that he was working on the album,[10] later revealed to be "Mood Ring", recorded on the previous month.[11] Even though Spears was photographed working with producer Alex da Kid, his contributions did not make the cut for the album.[12] In October, Spears was pictured working in the studio with Burns and Mischke Butler.[13] Later that month, she teased the title for "Just Luv Me",[14] and in November, she was pictured working in the studio with Justin Tranter and Julia Michaels.[15]
In March 2016, Spears said that she was being "more hands-on" with the album[16] and that it is "the best thing I've done in a long time",[17] though she noted that she was "not rushing anything" to let her fans "truly appreciate it."[18] On Most Requested Live with Romeo, Spears revealed that it was her son who chose the title of the album.[19][20] Retrospectively, Spears stated in 2022 that recording Glory allowed her to "get a spark back" amidst her restrictive conservatorship.[21]
Composition
Glory emphasizes "modern dance-pop"[22] while incorporating R&B and hip hop influences,[23] moving away from the more overt EDM stylings of Spears' previous albums.[23] As noted by Stephen Thomas Erlewine of AllMusic, it adopts a comparatively "lighter" tone than her earlier releases, with softer, nocturnal tracks like Ellie Goulding, which lean toward adult contemporary textures.[22] Lyrically, the album is heavily centered on sexuality, as it frequently addresses the listener as "you" and depicts various scenarios across much of its tracklist.[24] According to NME's Nick Levine, the record steps back from the thumping EDM and midtempo hybrids that characterized Britney Jean (2013), which allows Spears' vocals to sound more present and "re-energised" within the production.[25] On Glory, Spears returns to a "fizzy electro"-driven sound,[26] contrasting with the approach of her previous release, which some critics described as lacking personality.[27]
When Spears was asked about the style of the album, she responded with "I'll just say this... We really explored some new things."[28][29] On August 5, she revealed that the album took a long time to complete, but she was ultimately "really happy" with the final result, describing it as "really different" and noting that a few tracks explore a more urban direction she had long wanted to pursue.[30]
Songs
The opening track, "Invitation" is an "breathy bedroom romp" track,[31] and Spears suggests she might get her "blindfold out" on it.[25] "Do You Wanna Come Over?" echoes the feel of her early tracks produced by the Neptunes.[25] "Make Me..." features a guest appearance from rapper G-Eazy,[32] described as "sultry track" featuring Spears "cooing over moody, R&B beats".[33] On "Private Show", Spears adopts a performative perspective, narrating what the Los Angeles Times described as a "spectacular" strip-club routine.[24]Rolling Stone drew comparisons between "Man on the Moon" and "Alien" from Britney Jean; suggesting that both tracks highlight Spears' understated affinities with David Bowie.[26] "Just Luv Me", described as "EDM-inspired club-bangers",[31] incorporates acoustic-techno guitar textures reminiscent of Justin Bieber's recent work.[26] "Clumsy" features doo-wop elements[34] with "minimal electro-throb" sound,[26] and was described as a hook-driven disco anthem, with critics noting its playful call-back to "Oops!... I Did It Again".[35] "Slumber Party" is a "fizzy R&B" song[31] that focuses on reggae-inspired beat[32] and sexual scenarios from the album, constructed from the listener's perspective.[24]The Boston Globe observed that the tone of "Just Like Me" recalls aspects of her earliest work.[32] On "Love Me Down", compared to Gwen Stefani's style,[26][23] Spears adopts a vocal delivery associated with Iggy Azalea and Fergie.[32] The "brassy soul"[31] and electro-soul track,[23] "What You Need", features vocal stylings likened to "faux-Ariana" pop inflections.[26] On "Better", MusicOMH highlighted the left-field pop sensibility of the track, singling out BloodPop's production.[35] While "Change Your Mind (No Seas Cortés)" is the "latin-infused" song, "Liar" is a "Southern-soul-inflected" track which drew comparisons to Carrie Underwood.[23] "If I'm Dancing" features a deliberately exaggerated faux-British accent.[23]Slant Magazine wrote that "Coupure Électrique" would not sound out of place on Selena Gomez's Revival (2015).[23]
On August 3, 2016, Spears unveiled the album's release date, title and cover artwork,[33] tweeting the phrase "the beginning of a new era".[36][37] She also revealed that her new song, "Private Show" would be instantly made available for digital download to those who pre-ordered the album via iTunes Store.[38][37][39]
In 2020, Glory was reissued two times; the standard edition was reissued first, which was surprise released onto music streaming services on May 29.[58] It contains the previously Japan-exclusive track "Mood Ring (By Demand)", as well as a new cover artwork.[59] The deluxe edition received a reissue on December 4, featuring the new songs–"Swimming in the Stars" and "Matches"—the latter being a collaboration with the Backstreet Boys—alongside remixes of "Mood Ring".[60] It also includes the original solo version of "Slumber Party" and the original album track order.[61]
The reissues were in response to the original version of Glory receiving a resurgence in popularity in May 2020, following a fan-led social media campaign, which led it to chart at number one on the US iTunes album chart.[59][62] Spears acknowledged the fan campaign via an Instagram video message, and unveiled a new cover artwork for the standard reissue.[63] The revised cover features Spears laying in the middle of a desert wearing a gold bathing suit.[64][63]
Singles
The rapper G-Eazy (left) featured on "Make Me", and the singer Tinashe (right) featured on the remix version of "Slumber Party".
"Make Me" was released as the lead single for the album on July 15, 2016.[65] Described as a "slinky" mid-tempo R&B song, it features the vocal collaboration of American rapper G-Eazy.[28] An accompanying music video, directed by David LaChapelle, premiered at the singer's Vevo account on August 5, 2016.[66][67][68] The single debuted and peaked at number 17 on the Billboard Hot 100, becoming her sixth-highest debut on the chart and 34th Hot 100 entry.[69] On October 25, Spears started to tease the second single, sharing part of the lyrics: "Neighbors say we're causing a commotion..."[70] A remix version of "Slumber Party" featuring Tinashe was released on November 17.[71] Its official music video was directed by Colin Tilley, and premiered at YouTube on the same day.[72][73] The single debuted at number 86 on the Billboard Hot 100 issue dated December 10, becoming her 35th chart entry.[74] Both "Make Me" and "Slumber Party" reached the summit of the Billboard Dance Club Songs chart.[75][76]
"Mood Ring (By Demand)" was released to Italian radio on July 10, 2020, as the lead single from the 2020 reissues and overall third single from the album.[77] "Swimming in the Stars" was released to digital music providers on December 2, as the second single from the reissues and overall fourth single, coinciding with Spears' 39th birthday.[78][79] The release took critics by surprise, having been released amidst the #FreeBritney movement and Spears' work hiatus.[80][81] "Matches" was issued to contemporary hit radio in Italy on December 18, as the third single from the 2020 reissues and overall fifth and final single from the album.[82]
Promotional singles
"Private Show" was released as the first promotional single along with the pre-order on August 4, 2016.[83] Written by Spears, Carla Williams, Tramaine Winfrey and Simon Smith,[28][84] the song shares the title of her then-latest fragrance.[83] "Clumsy" was released as the second promotional single on August 11.[85] As the song was leaked earlier, fans could listen the song before its official release.[86] The third and final promotional single, "Do You Wanna Come Over?", was released on August 18.[87]
Glory received mostly positive reviews from music critics, many of whom praised the album's production and called it her best studio effort in years.[a] At Metacritic, the album received an average score of 71, indicating "generally positive reviews", based on fourteen reviews.[89]
Sal Cinquemani from Slant Magazine rated the album 3.5 out of 5 stars, and called the album's sound "daring and mature", but criticized "Private Show", calling it "the album's only bona-fide misfire."[23] In a positive review, Maura Johnston from The Boston Globe described the album as one with "an unbridled energy" that "operates on its own terms."[32] Neil McCormick from The Daily Telegraph praised the production on the album, and noted that "every track sounds like a single".[90] In a mixed review of the album, Jon Parales from The New York Times claimed that the album was "one-dimensional", but noted her as sounding like she "has emphatically returned to the foreground."[91] Mesfin Fekadu from Associated Press noted Spears "has taken note and jumped on the bandwagon [of R&B]" but claimed that the songs were not "authentically Britney."[98] In contrast, Nolan Feeney from Entertainment Weekly characterized the songs on the album as sounding "like glimpses of the real Britney—her musical tastes, her voice—imperfections and all."[31]
In particular, Spears's vocals were generally praised.[b] The Los Angeles Times described the vocals as a "vast improvement" over those on Britney Jean, remarking that "the very performed nature of the singing [...] makes Glory such a good time."[24]The Boston Globe remarked that Spears was "throwing herself fully into her vocal performance" on the album,[32] while The New York Times described Spears as sounding "more involved, more present, than she has in a decade."[91]Rolling Stone positively compared Spears's vocals to those on In the Zone, noting "she hasn't played around with her vocals so cleverly since the 'Toxic' days."[26]Entertainment Weekly described the album as "her most engaging vocally" in a decade and noted Spears as sounding "more present and enthusiastic than she has in years."[31] In a similar sentiment, Idolator described Spears as sounding "more lucid, engaged and front-and-center than she's been in years."[99]Slant Magazine credited Spears with a "willingness to stretch vocally and explore new sonic terrain", but also remarked that at times, this "highlight[s] her shortcomings".[23]
Glory debuted at number three on the US Billboard 200,[110] moving 111,000 album-equivalent units.[111] An increase of the sales was compared to her previous studio album, Britney Jean (2013), which sold 107,000 copies in its first week.[111] The record marks Spears's ninth top five album in the nation.[112] As of May 2020, the album has sold 157,000 copies in the United States.[113] On the Canadian Albums Chart compiled by Billboard, the record debuted at number four with 9,000 consumption units,[114] also marking her ninth top five album in the country.[115]
In the United Kingdom, Glory debuted at number two, becoming her highest-charting album in the country since Blackout (2007).[116] In Germany, the album debuted at number three, becoming her highest-charting album there in 13 years, since the release of In the Zone (2003).[117] In Italy, the album debuted at number one, becoming Spears's first album to reach the top of the Italian album chart.[118] The album also debuted at number one in Ireland and the Czech Republic.[119][120] In Japan, the album peaked at number 19 on the Japanese Albums chart (Oricon) selling 2,725 copies,[121] debuting on the Billboard Japan Hot Albums chart at number 33.[122] In South Korea, the album debuted at number 26 on the Gaon Album Chart and at number three on the international version of the same chart.[123] In June 2017, after Spears' tour in South Korea, the album rebounded on the Gaon International Chart and reached the top of the chart, higher than its debut position.[124] In Brazil, it had sold over 20,000 copies during its first day of release.[125] Additionally, the album also charted within the top ten of charts in various international countries.[c]
On digital editions of the album, "Do You Wanna Come Over?" is the seventh track after "Clumsy", prior to "Slumber Party", while the rest of the songs remain in the original order.[142] It was mistakenly placed as track 7, its placement on the album's 2016 digital reissue, instead of track 2 on vinyl releases. All copies include a white sticker on the back cover pointing out this error.[143]
The album was reissued on November 16, 2016, on digital and streaming platforms to include a new version of "Slumber Party" that features Tinashe, which has the same length as the original version.[144] The solo version was restored on the 2020 deluxe reissue edition.
The 2016 editions of the album (excluding Japanese releases) and the 2020 standard reissue are no longer available on digital platforms as of September 2022. The Japan exclusive editions and the 2020 deluxe reissue edition all currently remain available.
The digital-only 2020 standard edition included "Mood Ring (By Demand)" as a bonus thirteenth track, following the 2016 digital standard reissue track listing.[145] The 2020 standard digital reissue and all prior editions of the album, excluding the Japan editions, have since been delisted from digital platforms, in favor of the 2020 deluxe edition.
↑Farrell, David (September 6, 2016). "On The Charts This Week". FYI Music News. Archived from the original on October 8, 2018. Retrieved September 6, 2016.
↑"Britney: She did it again!" (in Estonian). Raadio 2. September 19, 2016. Archived from the original on October 6, 2016. Retrieved September 19, 2016.
"Glory". Britney Spears. United Kingdom: iTunes. August 26, 2016. Archived from the original on August 19, 2016. Retrieved August 9, 2016.{{cite web}}: CS1 maint: others (link)
"Glory Vinyl Pre-sale". United States: Britney Spears Official Store. August 26, 2016. Archived from the original on August 10, 2016. Retrieved August 9, 2016.
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