With the possible exception of Nicki Minaj, it’s hard to conjure up a single other artist that could have pulled off the left-field ridiculousness of single “M.I.L.F. Double Dutchess wears this knowledge proudly, forging aggressively in the direction of previous singles “Fergalicious” and “London Bridge” rather than indulging in the crossover opportunities hinted at by “Big Girls Don’t Cry.” This is because a large portion of Fergie’s appeal is her absurdity, and she knows it she’s a 42-year-old white woman who seems to draw most of her artistic inspiration from the ladies of hip hop’s golden age. For the typical pop star, this is a large amount of life to experience between albums celebrity and musicianship have been haphazardly propagated as dual heads of the same monster, and accordingly, the pop discography is often viewed as some kind of makeshift autobiography.īut the truth is that Stacy Ferguson has never been the typical pop star. In the decade-plus gap that bridges the two, the performer has gotten married, released two more albums with the Black Eyed Peas, had a child, and, as of this year, gotten divorced.
This September marks both the release of Fergie’s sophomore album, Double Dutchess, and the eleven-year anniversary of its titular forebearer, 2006’s The Dutchess.
