Quantum Baby: A Taste of Tinashe’s Artistry

Releasing her first solo music video in late 2011 for her song “Can’t Say No,” Tinashe has been developing her sound and style for more than a decade. Earlier this year in April, the singer dropped “Nasty,” going viral on several social media and started the “match my freak” trend which went on for a few months. Following the momentum, Tinashe dropped Quantum Baby this past August, and I cannot stress enough how good it is and how mad I am that the general public didn’t stay on the Tinashe wave. 

My jaw dropped within the first second of “No Simulation,” the first track on the album. I am an absolute sucker for harmonies, and the stacked harmonies of Tinashe’s vocals come out the gate in the most ethereal, world-transporting way. The instrumental stays relatively simple throughout to really make her voice standout. We then get into “Getting No Sleep,” which was the album’s second single release. The song is an interesting blend of UK garage, which has gained a lot of popularity lately, and alternative R&B, a sound Tinashe has made her own over the years. The chorus gets stuck in your head, aided by the baseline and kicks, with quirky sounds coming in from time to time. It then seamlessly transitions into “Thirsty,” which oozes confidence in every way. As I listened, it genuinely felt like Tinashe was singing this directly into my ear, and with contemporary R&B as the genre the intimate atmosphere created is very real.

Besides the intro, “Red Flags” is the shortest song on the album, my ultimate pet peeve in music. Genre-wise, she delves deeper into alternative R&B and dream pop, hinting at a shift in mood. Once Tinashe starts singing, the listener can tell it’s a sad song, about romance lost- or barely hanging onto the edge. Personally, “Cross That Line” feels like a continuation of the past confrontation, which would be “Red Flags”, except “Cross That Line” is the stuff that’s too real to say aloud in the heat of the moment. The track feels like a diary entry, talking about how serious the relationship has gotten, and fighting to get that chance. It’s accompanied by a crazy low bass, some nice harmonies and prominent claps. “When I Get You Alone” starts off with some synthesized keys and maintains a gorgeous airy falsetto throughout. The way she manages to switch back into a sultrier vibe is very intelligent, and does so in a way that’s subtle but not shocking. The song’s outro does a good job at letting the listener know that things are going to ramp back up as we start reaching the end of the album.

“No Broke Boys” has a bubbly tone, but a harsher line delivery from Tinashe, matching the melody and lyrics of the song well. The chorus is playful, in your face and straight to the point. Tinashe is carefree; she can’t be bothered about an ex, cause it’s not her loss, it’s theirs! It’s a lesson learned for the singer. The party continues with “Nasty,” the final track on the album. After the emotional twenty-minute journey, “Nasty” wants to take out the party girl onto the dance floor and be unafraid of being seductive and confident. Beginning with some muted beats and far-off vocals that finally drop in fully, “Nasty” is a masterclass in viral song-making. Though it wasn’t made for that purpose, it happens anyway, and Tinashe’s sound and authenticity is a breath of fresh air in the industry. It’s a fun song to get up and dance to whether you’re in the club with friends or alone in your room. 

Unfortunately, streams for Quantum Baby are relatively low compared to the first single, leaving me very disappointed with the public’s attention span. For the people that stuck around or have been fans for years know that this project is just a preview of what Tinashe is capable of. Quantum Baby is a great introduction to her discography- easily digestible and an auditory experience all the same.