Review: Lucky Daye “Table For Two”
Photo: Courtesy of Mark Peaced
I have always said that Lucky Daye has the best features and “Table For Two” is a refreshing concept when you really think about it. Picture it, Lucky Daye woke up one day and really said - I want to team up with some of the best female R&B artists to make a project that comes out DURING Valentine's Day and talks about the struggles and longing for love, just to throw everyone off for the holiday. Now that DEFINITELY did not happen, but maybe in some parallel universe it did. In reality, Lucky was inspired by Marvin Gaye and his album called “Marvin Gaye and His Girls”. Based on that title alone and what we are covering here, you can probably infer what inspiration Lucky took from the iconic artist. Since we know that he was trying to express an antithesis of sorts, to the standard and expected V-day subject matter, let us dive into the RNB Nerd review of “Table For Two” below!
“Ego Trip - Intro” - Not much to say here, the introduction track does help us conceive the "table for two" theme that is the foundation for the project. He is ready to be seated and to take us all along with him on the journey. I want to also add in here that intro tracks sometimes feel at the brink of extinction. I appreciate when artists use them nowadays and more specifically, when they are intentional and help the project, instead of some where it is evident that it could have been withheld.
“How Much Can A Heart Take” - Lyrically, the record starts with Yebba calling out some angering observations about how her lover is doing it all wrong. The situation reminds me of the collectively agreed upon climate of present day love and dating, particularly in Los Angeles and the surrounding areas. Yebba delivers her case and assures Lucky that she’s going to give him right back all the shit he’s been putting her through. Lucky responds to her claims with some SMOOOOOTH runs and some pretty ad-libs. The melodies in this record are INSANE. Trying to follow Yebba on the first verse made me smile and the rest of the record constantly kept me in this mood. In sharing a clip of the live performance on Instagram, which I am using here, someone commented how they heard Earth, Wind & Fire in this and I have to say it has ruined me lol I cannot help but make this comparison as well. Also, to nobody's surprise, this record was nominated at the 2022 Grammy Awards for Best Traditional R&B Performance. When considering the overall vibe of the record, it really is a great contender.
“On Read” - The song starts with a transition from “How”, with some distant sounds of a sent iPhone message. The small details that weave through this project are impressive, it further proves how much work and detail go into all of Lucky’s projects. On the record itself, this collaboration got lots of love from the all knowing internet. Many people were happy to see these two artists get together, citing that it was something unexpected. I would think that maybe the same was felt toward the song with Mahalia and maybe that is because both she and Tiana Major9 are British artists? The almost choir-like harmonies in the background emphasize the dark and hypnotic production, giving Lucky what he needs to add some beautiful smoky depth on the first verse. Tiana blends, much like everyone else on the record, perfectly with Lucky. It could just be my ears, but it almost feels like the ladies have their vocals sitting on top of Lucky’s? So in my head, I am going to believe that he is serving some gentlemanship here and allowing the ladies to shine in that way and you can’t tell me different. “On Read” is singable and given the coverage that it received online, the number of spins on streaming, and having its own cover art, I wonder if this wasn't meant to be the second single. It would make sense!
“My Window” - Right from the jump, Mahalia lays her cards on the table (more puns to come lol). A record like “My Window” is so vulnerable and yet I cannot help but feel it carries a bit of pain as well. For on one side of the coin we have our girl dishing blunt and straight shootin lyrics; “If you can't stand the rain, then I can't stand the sunshine - If you can't take the pain, then I can't make your sun rise - Maybe it's the right thing (right thing), I think we should end this too, don't you, baby?” And on the other side, and it could be me, but in all that bravado and tit for tat, I feel like I know this person. Someone who, at the first sight of a difference or “red flag”, is ready to throw it all away. Not considering the hurtful experiences that each party divulges on here, it seems like Lucky succumbs to the realization that these instances have driven them both to cite irreconcilable differences.
“Access Denied” - Not even ten seconds in and we are already getting that psychedelic touch that we have come to expect from Lucky and from many contemporary R&B artists today. I love the music in this one, it sounds so different from the other tracks. Ari’s voice makes total sense here, adding a vintage funk-soul touch over the whirling effects and jazzy sounds. This record explores what I believe is the experience of not allowing love to enter your life and the price one has to pay in deciding whether someone is worth holding onto or letting go. Our two faves explore this when we hear the lyrics, "You push away, I push from back (yeah, yeah) - The game we play, The rush, the act”. Lucky’s tone changes throughout the song, shifting between understated and emphasizing the strong lyrical parts. You can feel his conviction in how he expresses being denied constantly; it’s discouraging. On the flip side, Ari is short and sure in her delivery, demonstrating that she is unwavering in her present state of mind. The record leaves things unresolved, further building on just how much each of these records represent being out on a date with someone; sometimes it doesn't go any further or amount to anything.
“Dream” is my favorite record on the project. The song opens with some altered guitar riffs and a distorted whistle, almost evocative of something from a dark circus. This along with some filtered, wind tunnel like synths, hold the record together. Lucky and Queen harmonize GORGEOUSLY, and I have to note that Queen’s tone is something to celebrate all on its own. Personally, I don't feel she’s gotten the recognition she’s deserved. But that’s for another post :) The lyrical content of the song sees our stars trade endearing and devotional lyrics that express how they recognize that this all might be too good to be true. Both sing convincingly; they are afraid to lose the almost dream-like experience of a love that is so real. The melodies, MY GOD, I could play this over and over and find something new to love each time. Whether it's Lucky’s ad-libs, Queen’s runs, or those moments where they both harmonize the ad-libs and runs. The bridge pokes out a little more here than on the other records, again adding (IMO) to the unique and specialness of this song. This is KILLER R&B, and it makes me want to scream!
“Falling In Love” - A record that was also featured on Joyce’s debut, probably because it is that good, feels like the most uptempo of the bunch. Both artists bring their youthful and bright energy to record, almost making invisible the bittersweet sentiment that the song signifies. The uncertainty that comes in dating and in relationships today is fresh on the minds of both Lucky and Joyce here. I enjoyed how Joyce’s verse on the pre-chorus was the perfect set up for building into the singable melody in this record. Guaranteed, the section that we all scream at shows or festivals is going to be, “Now baby, don't go playin' with my lovin’, Don't make me regret fallin' in love, Fallin' in love”. Joyce and Lucky continue to harmonize the hell out of this song through to the end, with Joyce adding some sweet vocals on what feels like a quick bridge before the song closes. Joyce’s ad libs on this record are TO DIE FOR as well, so don't miss those!
I love this project and feel that it showcased everyone involved in the best light. You get a taste of what each brings to the table (see what I did there), both within the set here and in their own individual artistry. It is no wonder the project took home the 2022 Grammy Award for Best Progressive R&B album. He beat out some great competition too! (Eric Bellinger, the Dinner Party project, FREAKING MASEGO - come on bro). In conclusion, and saying it again for the folks in the back, the visual poem he made for this project is AWESOME and a very dope way of fleshing out the records on here. Lucky has always delivered NEXT LEVEL visuals and this was a powerful long-form representation of him and his artistry. It doesn't hurt that I love all of these artists and truly believe that Lucky Daye is a young legend in the making, but I would fully endorse anyone taking the time to give this one a listen ASAP. THANK YOU for reading!
