Rolling Stone - 3 stars out of 5 -- "'I Don't Care' is awesome Chicago soul with a vocal solo and a vamping band; and 'Leave Me Lonely' borrows a naturally vintage guest appearance from Macy Gray that sounds like Nineties R&B gone Bond soundtrack."
Spin - "Ariana Grande's third album contains winsome orchestral pop, throbbing house, sparkling electro, a Nicki verse, a horn-flecked breeze called 'Greedy,' a Weezy verse, kind of a bluesy thing with Macy Gray, a Future verse, and a song literally called 'Bad Decisions.'"
Entertainment Weekly - "Grande wants to test the limits, not apologize. And that's the best, baddest thing about DANGEROUS WOMAN." -- Grade: B+
NME (Magazine) - "The frequent comparisons made between Mariah Carey and Grande are apt....The modish message of empowerment feels honest coming from Grande..."
Pitchfork (Website) - "[T]he production on her new DANGEROUS WOMAN is enormous, full of flirty pop eruptions and slinky dancefloor seductions."
Audio Mixer: Serban Ghenea.
Recording information: Audible Images, Pittsburgh, PA; Glenwood Place Studios, Burbank, CA; MilkBoy The Studio, Philadelphia, PA; MXM Studios, Stockholm, Sweden; Studio Willow-Valley, Goteborg, Sweden; Vietom Studios; Windmark Studios; Wolf Cousins Studios, Stockholm, Sweden.
Photographers: Matt Barnes ; The Young Astronauts.
Ariana Grande took her first tentative steps into adulthood with My Everything, the 2014 album that tempered her retro-diva stance with modern R&B. Released two years later, Dangerous Woman consolidates this soulful shift while offering a snazzier, sophisticated spin on the '90s pop that provides the foundation of Grande's music. Much of the latter comes from a fruitful partnership with producer Max Martin and his colleague Ilya, a team responsible for over half of the standard album's tracks (they also have their hands in several of the deluxe edition's bonus cuts). Tommy Brown and Mr. Franks are the other chief collaborators here, shepherding many of the cuts with a heavier R&B influence -- the stuttering "Let Me Love You," featuring a verse from Lil Wayne, the slow-burning torch of "Leave Me Lonely" -- but their productions aren't far removed from the Martin/Ilya cuts. "Everyday," a heavy thrumming jam featuring Future, is helmed by Ilya alone and the Rihanna-copping "Side to Side" bears a Martin credit. What all the producers do is keep the focus on the individual track, carving it into a seamless sculpture of rhythm and melody where Grande winds up as the accent to the song. Restraint serves her well: there are times she lets go with a full-throated roar, but Grande spends most of Dangerous Woman at a simmer that reinforces the sultry seduction of the title. A fair chunk of the album is devoted to cinematic ballads, which makes the bright blasts of disco -- "Be Alright," "Greedy" -- so alluring, but the entire record benefits from this single-minded concentration. Track by track, Dangerous Woman has sly, subtle distinctions -- a little bit of torch gives way to some heavy hip only to have frothy pop surface again -- and while some of these cuts work better than others, the range is impressive, as is Grande's measured, assured performance. ~ Stephen Thomas Erlewine