David Wang | Staff Illustrator

In her latest release, “eternal sunshine deluxe: brighter days ahead,” Ariana Grande reaffirms her place as one of pop music’s defining voices. This deluxe edition of Grande’s album “eternal sunshine,” which was released in March 2024, feels not only like the culmination of her previous albums, but also like a love letter to each era of her artistic and personal evolution. Every new track echoes sonic and lyrical elements from past records — ranging from “Positions” all the way back to her 2013 debut, “Yours Truly.”

The release of the deluxe album — which features six new songs and a short film — closes the chapter on Grande’s public divorce from Dalton Gomez and her new romance with “Wicked” co-star Ethan Slater. Tabloid headlines may have tried to narrate this story, but here, Grande reclaims it on her own terms.

The original “eternal sunshine” album begins with Grande reflecting on heartbreak and divorce, moving from “intro (end of the world)” through “bye,” “don’t wanna break up again,” and the title track “eternal sunshine.” Grande is emotionally candid as she sings about the decay of her marriage: “I fall asleep crying / You turn up the TV / You don’t wanna hear me.” But she also finds power in learning to put herself first — “But you didn’t even try / When you finally did, it was at the wrong time / Won’t abandon me again for you and I.”

The first new track on the deluxe album is an extended version of “intro (end of the world),” which introduces a new layer to the album’s emotional journey. Upon an initial listen, the first track sounds somewhat lackluster, with the added melody coming in abruptly, disrupting the natural flow of the song. But after a few more listens, Grande’s intention behind this choice comes to light. The new version of this intro sets the tone for the rest of the deluxe, shifting from the original’s hopeful sun, into a darker, bittersweet moon. The final line of the track says it all: “I do need you, I did / I wish I could un-need you, so I did,” reaffirming themes of letting go and moving on.

From there, the deluxe takes off. Grande’s production choices are some of her most compelling yet. The rich synth-pop textures of “twilight zone” evoke echoes of “we can’t be friends,” and “dandelion,” with its sultry trap beat and brass intro, is quickly becoming a fan favorite. Overall, the instrumentation of this deluxe album is meticulous, intentional, and — true to her name — grand.

Tracks like “twilight zone” and “warm” continue in the dreamy, lush, synth-heavy vein of “eternal sunshine,” but “dandelion” makes a distinct sonic departure. It channels the attitude and style of “thank u, next” and even nods to unreleased demos from the “Sweetener” era.

Lyrically, these new tracks didn’t immediately stand out as Grande’s strongest work, and came across quite blunt. But, like “intro (end of the world),” after many afternoons of listening to them on repeat walking to class, her lyrical bite gradually became apparent. Grande is scathing, unapologetic, and precise. In “twilight zone” she throws direct shade at Gomez, singing “Hope you win for best actor.” She also calls out his new girlfriend: “Does she know you’re not who you say you are? / ‘Cause I might give her a call.”

“past life,” a “Positions”-esque track, is filled with reminiscent sounds of orchestral pop, where Grande continues her lyrical condemnation. She confesses, “Always wondered what would happen if I let you lose me,” and asserts to self-growth with, “Might f*ck around and elevate my expectations.” Grande wants listeners to know that these aren’t just breakup songs, but declarations of rebirth.

The most poignant moment, however, comes in the final track, “Hampstead,” a vulnerable ballad that Grande has called “one of [her] favorite songs [she’s] ever written.” The song is rich with references to her past work, with lyrics alluding to her “Sweetener” and “Dangerous Woman” albums. Grande pointedly rewrites the narrative from “pov,” a love song from “Positions” that was written for Gomez about appreciating the way he viewed and loved her. Now, she sings, “I’d rather be seen and alive than dying by your point of view,” lyrically severing their connection with fierce clarity.

What makes “Hampstead” especially powerful is its vocal performance — layered, emotional, and resolute. In lyrics like, “You think you’ve read the book I’m still writing / I can’t imagine wanting so badly to be right / Guess I’m forever on your mind,” Grande speaks not just to her ex, but to the tabloids and the public. She acknowledges the cost of the media frenzy amidst her controversial romance with her co-star, and even though she had to throw “away [her] reputation,” she “saved” herself and Gomez from suffering “more heartache.”

Despite numerous references to her previous albums, “Hampstead” features a unique melody that feels deeply personal and unlike anything else in Grande’s discography — undeniably securing its place as the standout track of the album. Like the rest of the deluxe album, it seamlessly weaves experiences of Grande’s romantic history and personal growth to create a captivating, moving soundtrack to her life. With vulnerability and boldness in equal measure, Ariana Grande reminds us that no matter how dark the past, there are always “brighter days ahead.”