Dominic Fike has a debut album that’s difficult to hate, and a rumored multi-million contract in hand — why does he sound like he wants it all to go away?
The problem is that these inoffensive songs are made by a singer that doesn’t seem too keen on the product he’s selling. There’s a need acrossfor Fike to skewer his persona before the audience has a chance too. A prime example of this is “Cancel Me,” a blunt opportunity for him to sing, “I hope they cancel me.
Dominic Fike is part of a new class of pop stars — Trevor Daniel, Blackbear, Post Malone — that are essentially R&B singers with bigger budgets. As an African-American and Filipino artist, this leaves Fike in a precarious situation, because the way the industry tends to talk about his talent is drenched in once-in-a-generation platitudes that seem tied to a racially ambiguity that’s easily marketed, but not given as readily to someone like a Brent Faiyaz or Giveon.
A little more than halfway through the album, Fike’s “Vampire” arrives; it feels like the rare moments where his misery, self-flagellation, and goofiness coalesce into something that’s better than the sum of its parts. It’s essentially the set-up of Alessia Cara’s “Here,” mixed with a vampire metaphor where red wine might be blood and everyone is doing cocaine. It works. Removed from the regular dour proceedings, Fike revels in playing the role of the radio-ready star .
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