Taking a go at covering Shakira is no small feat. Attempting to cover ‘Objection’, a deep-cut classic is downright risky. But that’s what Karolina Rose seemingly does best: dances with danger.
Her version of ‘Objection’ is sultry and alluring: dressed with rose-gold vibes of modern pop – a noir-coated visage of music. It’s tinged with darkness, as opposed to Shakira’s original lighter, Tango-infused track; but it isn’t darkness of a heavy, stifling kind. Instead, Karolina takes Sharkia’s lyrics and splashes a little bit of the night’s sky over them – but even in the darkest of nights, stars still glimmer. And Karolina is certainly a star in her own right.
The production on the track is squeaky-clean, produced by none other than Elliot Jacobson, who’s worked with Allie X and Vérité. A highbrow claim that raises high expectations. Thankfully, ‘Objection’ meets those high expectations, and then some. The gentle production builds up slowly, gradually over the track – a pulsing beat that thumps throughout the song. Never, though, does the production overshadow Karolina’s voice – allowing it to take to the stage and centre.
Speaking of her voice, Karolina has a beautiful edge to her – singing in low, enticing tones – encapsulating strength and femininity all at once. It’s got an unusual vibe to it; a mix between Florence and Vérité, but it’s one that blossoms wonderfully.
The bridge is the highlight of the track; Karolina’s spoken-word every bit as enticing as her sultry vocals. It adds another layer to the singer; a slew of versatility that allows her to shine in her own right.
‘Objection’ conjures up images of dark nights, of rainy skies and red dresses with bright red lipstick; of witches and strength and beauty – and it’s a combination that works well. Never does the cover come across as try-hard, or false. In fact, it’s quite the opposite: it’s a genuine, sincere entry that shows that Karolina deserves to fly.
It dances with Lana Del Rey vibes; minus the facade of the sad-girl trope. Instead, Karolina’s voice offers a sense of vulnerability addled with strength – an unusual combination, for sure – but one that sets her apart from her contemporaries.
Compared to the other tracks in her growing discography, ‘Objection’ is a darker affair, less focusing on the pop side of things and more on the quirky, indie vibes. ‘Going to Berlin’, for example, relies on a catchy hook and a booming bass beat to entice its listeners. ‘Objection’, meanwhile, allows Karolina Rose to show us a different side to her blossoming voice, and it’s one that I adore.
To be honest, I’d be as bold as to say that I prefer Karolina’s version of ‘Objection’ more than the original. Taking the upbeat track and spinning it into a dark, noir-vibing song is a marvellous feat, and I can’t get enough of it.
And Karolina clearly doesn’t shy away from being compared to other women in the pop scene. At this early stage of her career, it’s a bold move to cover such an iconic classic by the widely-revered Shakira; but it’s a risk that pays off. It works well, partly due to the unique twist she spins upon the track – this isn’t any ordinary cover. It also works because it acts as a homage to Shakira, complete with the album artwork working to honour Shakira’s ‘Oral Fixation: Volume 1’.
The track comes as a part of a foursome of efforts from the Polish-American singer; showcasing a tale of love, loss, pain and healing through four video experiences. Keep your eyes peeled on her progress – she’s certainly a rising star to keep an eye on!
Stream Karolina Rose’s new track for yourself on Spotify! And, as always, let me know what you think of the rising starlet in the comments below.
For more on music, check out everything we know about Lady Gaga’s upcoming album. Or, for something a little bit more quirky, check out my review of Lindsey Stirling’s magical ‘Artemis’ album. You won’t be disappointed.