Single Review: Hikaru Utada - Pappa Paradise

When it was announced that Hikaru Utada was releasing a new song as part of some kids’ show, I had no idea what to expect. It could be some “Boku wa Kuma” type shit. It could be some “Hikari” type shit. It could be some “Chiaki” type shit. It could be any-fucking-thing. So, I didn’t even bother trying to guess how the song would sound or having an expectation for it. But even so, I was still surprised by what “Pappa Paradise” turned out to be. Because even if I were to play the guessing and expectation game, I never would have landed on the song being on some 60s throwback, doo-wop, Happy Days type shit.

Call Hikaru Utada a ballet teacher. Because they be keeping bitches on their toes.

Much like Hikaru’s previous single “Mine or Yours”, there is a real cosiness and sense of familiarity to “Pappa Paradise”, but packaged with a new twist. And much like “Mine or Yours”, “Pappa Paradise” is a bit of a mind-fuck for me because of it. When I first listened to each of these songs, I was like ‘Oh, I like how new and different this sounds for Hikaru’. But then, I hit a point where the entire song suddenly felt like a Hikaru Utada song that I’d heard before. With “Pappa Paradise” the song that came to mind for me was “Kiss or Cry”. The songs are very different in their sounds, production styles, lyrics, melodies and tones. They sound nothing alike. And yet, I can’t shake the feeling of it as I listen to “Pappa Paradise”. Maybe it’s the vibe. Maybe it’s the way Hikaru sings the song titles, and that they both end on the same sound. Maybe it’s the horns. Maybe it’s both songs being driven by the drums. I dunno. But, yep. “Kiss and Cry” is on my mind when I listen to “Pappa Paradise”. I guess it goes to show how Hikaru Utada just has this innate ability with their voice and knack for melodies to evoke a sense of familiarity. And I think it’s this quality which played a part in the likes of “First Love” and “Automatic” receiving the reception that they did and really connecting with people. And that last part is such a big part of Hikaru’s music. Connecting with people. A very fitting quality for an artist to have, especially for a song of theirs which features in a kids TV show centred around friendship and family. And I think it’s this quality which also made Hikaru’s Kingdom Hearts songs so popular and why they are a great fit for that franchise.

Hikaru Utada - Pappa Paradise | Sony Music Labels Inc.

Hikaru Utada’s voice is a bit of an acquired taste. A voice which recently went a bit viral after a Txitter user commented on Hikaru singing off key on First Love — a sentiment I do not disagree with. I am a big Hikaru Utada fan. But I have made not so glowing comments about their vocals many times throughout my reviews of their music, and I stand by them all. But one of the cool things about Hikaru Utada’s voice is that it works with such a range of different genres and styles. Their voice in and of itself feels like its own genre. Hikaru’s voice is like a singularity — it just pulls everything into it to become a part of it. The music, the genre, the sound. Everything. It ends up being the centrepiece of every song. And I think perhaps this is why in instances where their vocals aren’t that great, or notes are off, you really notice it. This is what is kinda remarkable about a song like “Pappa Paradise”, because 60s style the song has can so easily do 1 of 2 things. The richness of instrumentation and the density of sound can swallow up a vocal. Or the simplicity of an arrangement can highlight a vocal — which leaves a bitch out to dry if they cannot sing. But Hikaru Utada’s vocals on “Pappa Paradise” are in this sweet spot where it feels supported musically, but is also given moments to really sit in front of the music. And in this instance, we have to shout-out the mixing.

Mixing a vocal on a song which has so much live instrumentation which goes back and forth between the 60s, lounge jazz and big band jazz is not easy, especially when you’re dealing with a voice like Hikaru Utada’s which doesn’t always sit in a particular range. It’s a real skill to be able to mix a song where you can hear every music element, but not so much to a point that it feels distracting. And for everything to sit in just the right place that nothing feels like it jumps out unless it’s intentional. And for everything to have an analogue warmth to it, which is a signature of the sounds of the 60s and jazz. AND for Hikaru’s vocals to still anchor the song. So let’s give mixer Steve Fitzmaurice a round of applause. He’s been mixing for Hikaru Utada since Fantôme and is heavily involved with the mixing and engineering of their live shows. So he’s really developed an ear for Hikaru Utada’s sound and their approach to production and singing. And even when Hikaru’s sound shifts, he doesn’t apply the same mixing techniques to every song. He adapts it. For instance, even though “Bad Mode” and "Pappa Paradise” share some sonic similarities and Hikaru’s voice spans a similar range — they aren’t mixed the same way. Steve, sweetie. I see you.

My ONLY note for the mixing, is that I wish that the second run of the chorus didn’t feel like it was cut short by the introduction of the second verse. Hikaru’s ‘Pappa Paradise’ vocal isn’t even able to finish before the second verse starts, and it just sounds odd to me. Almost like a mistake. Allowing the chorus to properly finish wouldn’t have only sounded better, but would also work better for when Hikaru sings the song live.

Hikaru Utada - Pappa Paradise | Sony Music Labels Inc.

“Pappa Paradise” features production from Henry Bowers-Broadbent, who also produced “Mine or Yours”. And when you know this, you can kinda hear it. “Pappa Paradise” is a song for a kids TV show, which partially explains the cosiness. But I do think another part of that cosyiness is Henry. Not only is he 2-for-2 on producing cosy sounding songs for Hikaru Utada, but this sense of cosiness and warmth was also present in the Science Fiction tour renditions of songs — the tour for which he was a music director. Warmth is definitely a characteristic of Henry’s production, and it works so well here. I think he’s a great addition to Hikaru’s production roster which currently (hopefully still) includes Floating Points. And he’s been a part of Hikaru’s team for a while now. So it’s cool to see him move into this new space with them creatively, at a time when they’re trying new things with their songs.

I am a big fan of when Hikaru does songs which feature live instrumentation. I do like some of their more stripped back, electronic ‘My first FL studio beat’ songs. But there is just something about hearing Hikaru’s voice with live instrumentation that does it for me, and “Pappa Paradise” delivers on this. With “Pappa Paradise” being a throwback to the 60s, doo-wop and jazz — it just makes sense to have live instrumentation played by a band to evoke that feeling of everybody playing in a room together. And I like that you can feel the camaraderie of the musicians on this song. “Pappa Paradise” really does feel like a family affair. The session players consist of Hikaru Utada’s Science Fiction tour band: Isaac Kizito on drums, Kinako Omori on keys, Seye Adelekan on bass, Ben Parker Jr. on guitars and Henry Bowers-Broadbent on keys and production. And Ben and Henry have been a part of team Hikaru for pretty much a decade now, in addition to Steve Fitzmaurice. So there is also a trust Hikaru has in each of them that you can also feel in this song, which may also contribute to Hikaru feeling bold and brave enough to try something new. After all, these guys have been around for some transformative moments in Hikaru Utada’s life as they’ve committed it to music. They were around for Fantôme, when Hikaru was in this space of parsing the grief of her mother whilst figuring being a mother herself. They were around for Hatsukoi, when Hikaru was rediscovering the purity of love. And they were also around for Bad Mode — where Hikaru was grappling with how to be there for others, when they are still figuring out how to be there for themselves. So they’ve seen Hikaru go THROUGH IT, to now be in this place of “Pappa Paradise” — where they feel they can celebrate joy, which they are probably seeing through the eyes of their child.

“Pappa Paradise” really does feel like a culmination of so many things, so many stories and an on-going journey. It feels like a marker of ‘I don’t know what the future holds, but I am happy in this moment right now and I want to cherish it with the people I love’. If Bad Mode was the grey cloud and “Mine or Yours” was the rainy day indoors, then “Pappa Paradise” is the sunshine after the rain.

Hikaru Utada - Pappa Paradise | Sony Music Labels Inc.

Hikaru Utada being able to release a song which feels so different from anything they’ve done before, whilst retaining such a sense of familiarity is an amazing skill that they possess. Because despite the variation of sounds in Hikaru’s discography, there is still a sense of cohesiveness and a sense of ‘This feels SO Hikaru Utada’. And “Pappa Paradise” has that. It still amazes me that after all of these years, Hikaru Utada is still able to release music which feels fresh and pushes them in new directions, without feeling like they’re ever losing their sense of self or ‘selling out’. Hikaru Utada hasn’t been big on following trends for a while now. So to release a song which is a fusion of doo-wop and big band jazz at a time when it is not a trend in any market whatsoever, feels very Hikaru. And is also a really smart choice, because it will help the song cut through. But all of this aside, “Pappa Paradise” is just a really good song. And as a fan, it’s nice to see Hikaru in a place where they can write a song about the joy of life.

I will admit though, that the music video made me like the song a whole lot more than I did initially.