India.Arie

As a whole, there's not a lot farther down the proverbial road that the R&B genre can go. After all, one can only be so silky, sexy, smooth and soulful before crossing that line between feeling it and faking it. Fortunately for the genre and its fans, a handful of artists have found ways to keep things fresh and exciting, without completely abandoning the style's intent or aura. Among today’s top names, India.Arie is one who has managed avoid complete redundancy by using a slew of subtleties throughout each song.

This follow up to 2006's Testimony: Vol I, Life And Relationships couldn't be considered anything but an R&B album, however, the singer/songwriter/producer's ability to sneak bits of neo-soul, acoustic folk, pop, jazz, blues and melodies from the Middle East and West Africa into her already full-bodied sound. With an honest and earthy voice, India.Arie shines on globally-minded hits like "Ghetto" and "River Rise." Being the infants of the Obama-era that we are, the bright "Beautiful Day" hits like a theme song in the sunshine, while her smoky duet with Keb Mo, "Better Way" gives her plenty of cred with the old-school set.

With seventeen songs, Testimony: Vol. 2, Love And Politics does tend to play itself out before the final seconds, but with a voice this damn good there is little to complain about. Look for India.Arie to one day carry the title of "Queen Of R&B;" and look for that day to come soon.

—Ryan Ogle
03.19.09

India.Arie cited creative pressures as one factor in the gap between Testimony: Vol. 1, Life & Relationship, her last album for Motown, and Testimony: Vol. 2, Love & Politics, her debut for Universal Republic. Motown possibly was not content enough to yield to the instincts of an artist with three consecutive Top Ten albums and a pair of Grammy awards (to go with 14 additional nominations). Testimony: Vol. 2 is, if anything, merely a moderate progression from Testimony: Vol. 1, not sounding anything like a severe turn from Arie's past. However, the variety of guest collaborators naturally signals and fosters her most eclectic, hardest-to-pigeonhole set yet; in addition to Musiq (Soulchild) and MC Lyte, reggae artist Gramps Morgan, Turkish star Sezen Aksu, and African vocalist Dobet Gnahore (present on a cover of Sade's "Pearls") are featured. Regardless of the non-standard inspirations and unexpected guests, Arie could perform every one of these songs live with just her guitar and not risk shortchanging her audience. Given the new wrinkles, it's not startling that her outlook here has a wider scope, her viewpoint wiser and more outward looking than before, exemplified most through "Ghetto" -- which seems to take cues from War's "The World Is a Ghetto," building off the notion of people all around the planet facing the same plight -- and the slow, bluesy stomp of the firmly U.S.-centric "Better Way" (featuring Keb' Mo' on guitar). The tone of the relationship songs is more upbeat, and even occasionally lighthearted, relative to those of Testimony: Vol. 1, adding a pleasant contrast to the more serious material. If her former label could accuse her of anything, it's that she did not deliver a big single (she does not have a single Top 40 hit), and that's something that won't likely change anytime soon. Her fanbase, big enough to grant Arie gold sales, will gladly take a fourth steady and honest album over a big pop hit. ~ Andy Kellman, All Music Guide