Lizzo has solidified her place as a global music icon since her breakthrough, transitioning from a rising star to a festival headliner. Her album, Cuz I Love You, garnered significant acclaim, earning her multiple Grammy awards and the title of Time magazine’s Entertainer of the Year in 2019. For those who appreciate musical intricacies, witnessing the updated video for “Good as Hell” is a rewarding experience, highlighting her continued artistic evolution.
Even with a seemingly simple opening, “Rumors Song” quickly reveals its harmonic depth. The tonal center appears to solidify around the word “damn,” landing on a G, accompanied by a G augmented chord. The song frequently features a B major chord, notable for its inclusion of the D# note, which presents an interesting element within the context of the Phrygian mode. The prominence of the B major chord suggests a Phrygian modality, even if it’s treated as a major chord in this context.
The progression between the B major and E minor chords is particularly noteworthy. Traditional major or minor key songs often emphasize harmonic movement between V-I or v-i chord relationships, where both chords share the same quality. One might consider the B major chord as a secondary dominant to the ii chord, potentially placing the song in E Dorian. Regardless of the precise modal interpretation, the harmonic language is undeniably captivating.
Concerns about the harmonic simplicity of contemporary pop music have been voiced in the past, with some critics lamenting a perceived decline from the songwriting complexity prevalent in the 70s and 80s. While Bruno Mars was sometimes cited as an exception to this trend, his harmonic complexity is arguably comparable to many other contemporary artists, despite moments of chromatic interest like in “Uptown Funk.” It’s likely that such critics might find fault with Lizzo’s work as well, but as she herself would assert, “Haters do what they do.”
Regarding suitability for younger audiences, while the harmonic sophistication of “Rumors song” is undeniable, its themes and visual presentation, including explicit language and mature imagery, make it less appropriate for K-12 educational settings. Unless in a higher education environment with significant pedagogical flexibility, exploring this song in detail might be challenging. The theoretical concepts are advanced, potentially touching upon scales outside conventional Western musical paradigms, but the overall presentation is geared towards a mature audience.
