Femme Fatale Tour

Getting a little informal about Britney; She’s not the same and you know it.

"Britney, with no means of escape" - awkward with fans, awkward onstage

Forgive me for the informality of this post, but I’ve been itching to say something about this. My interest in Britney has been waning ever since I saw her mope around Mellon Arena back in March of 2009. I was less than inspired to purchase a ticket for the “Femme Fatale” tour. Especially since Nicki Minaj was sitting the Pittsburgh date out.

And missing a Britney tour because the opener is absent is not something I thought I’d say five or so years ago.

Here’s a link to the preview I did (I also did a few other items on discography, her looks throughout the years, memorable moments, etc. but that didn’t make it into the online version) Britney Spears battles her demons and finds her way back on top of the charts

Accusations of not being a real journalist, that other pop stars are irrelevant (lol), and basically many others offended simply because they read something that wasn’t a squeaky-clean jerk off to their pop idol is what I’ve been hearing from fans and friends alike.

Talking about Britney without mentioning her “troubles” and failing to note that she’s an entirely different performer than she used to be is like talking about the World Trade Center like it’s still there. What terrorist attack? A question like that could only be asked in a state of delusion, and that’s what a lot of these Britney “stans” are in.

Being a “stan” is a lot different than being a true “fan”. As Chris Crocker points out in his fabulously spot-on “Britney, Leave the Stage Alone” video (linked below) a true fan does not blindly accept their idol in spite of a true tectonic shift in their creative output.

One response in particular simply sounded like one of those stans Crocker downright despises. Making a bunch of points that aren’t really defendable simply because you love an artist doesn’t give you any sort of validity whatsoever. One of the published letters (in today’s Weekend Magazine section, on the last page) accuses Beyonce of having nothing to do with tracks she “co wrote”. If the credits on an album are going to be given to a co-writer on one track (for example, she’s listed as a co-writer on “Who Run The World (Girls)”) but not on another (she’s not listed on the writers credits for “I Was Here”),  an accusation like that loses all basis. Unless you honestly believe the label wanted to fool a fanbase into thinking Beyonce actually co-wrote all but one track on “4”. Perhaps they wanted to save money in printing the album booklet. One more mention of Knowles’ name would have been one too many.

If they’re going to take the time to not credit her as a co-writer for one track yet credit her on the other 11, chances are she actually had something to do with, you know, “co-writing” the song. Queen B is also credited with producing a fair amount of songs on her latest LP as well.

Britney, perfecting the art of sleepy time while performing (the mask hides it well).

On “Femme Fatale”, however, Britney’s songwriting credits and production credits stand at a staggering zero.

Basically all the stans are saying is “I’m a Britney fan and I think Britney is great.” That’s perfectly fine, but talking about her past is necessary to pinpoint why she’s such a different performer than she was 5 or 6 years ago. A true fan is able to recognize when an artist isn’t performing at their best and won’t accept anything less than their best.

Britney is very visibly not up to par with the standard she set for pop stars, and both critical and fan reception backs that up (the Femme Fatale tour is selling nowhere near as well as the last one) and reviews have been equally declining for it in comparison to The Circus Starring Britney Spears.

No one “hates” her so to speak, it’s just necessary to mention the “negative” things to understand her image as a whole because it’s primarily to blame for the way she is now. I mean, come on, she didn’t even have a single production or co-writing credit on “Femme Fatale” at all. I think that’s the first time that’s ever happened on one of her albums since “…Baby One More Time”.

She’s on a retread, resting on the platform she built for herself (and Lady Gaga…and Beyonce…and Ke$ha…and Katy Perry…) and it’s scary to think she’ll never overcome that.

“Bionic” might have flopped alongside its planned tour, but at least Christina still belts it out live whenever her fame whoring ass gets a chance to (I’m looking at you, Super Bowl Aguilanthem).