Simon Hampson examina três espécies da sueca Robyn e classifica-a como possivelmente a melhor artista pop do mundo, após tê-la visto em concerto em Londres:
--- the Missy Elliot-goes-pop Robyn:
"She does the whole bit: the jerky, phlegmatic flow, the accent, the lyrics about cum that make delicate souls like me blush. You might expect that a Swedish pop star trying to do hip hop would be embarrassing and wretched, but it’s really not. (…) Even the moments where she tries to, erm, ‘bust some moves’ are great; her joy in performing is truly infectious, and as she smiles delightedly, like a naughty kid, we all smile back. Pop music is at its best when it’s teetering on the cusp of ridiculousness, and Robyn knows this."
--- the broken hearted synth-pop Robyn:
"The beautiful ‘With Every Heartbeat’ is a frayed stitch in time at Cargo: the kind of song, and the kind of performance, that seems to stop the world for a little while. (…) But Robyn is no slit-your-wrists miserablist; however sad her songs, her melodies are always so tender and so sweetly sung that they’re uplifting, in the way that The Ronettes could carry you away into a weird kind of bliss with the most melancholy songs."
--- the deeply eccentric, kind of punk rock Robyn:
"This one’s not on the album, but she features a great deal in the live set. Much of the set consists of Robyn singing, a drummer, and a guitar player scratching away at crabbed, awkward riffs, and that’s it. No bass, nor any of the lovely synth flourishes and textures of the album."
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