The title applied to Pink both artistically and commercially. Upset with the tepid sales of Try This, Pink went back to the sprawling confessional pop of her sophomore release, resulting in 2006’s I’m Not Dead. With her second album alone, she had become a pop enigma, which, invariably, led her to become ennobled, soon hiring Rancid frontman Tim Armstrong as a pop songwriter, resulting in the aptly-named 2003 disc Try This, a guitar-heavy pop album that, despite some excellent singles (namely “Trouble” and “God’s a DJ”), failed to connect with listeners in any significant way.
These tracks put family tragedy right in the center of pop radio, proving that Pink’s “edginess” did not stem from her Not For Red Carpet fashion bent, but her willingness to expose herself emotionally on the Top 40. In producer Linda Perry (ex-4 Non Blondes), Pink found a woman who was willing to indulge her cathartic brand of dance-pop, helping write songs like “Don’t Let Me Get Me” and “My Vietnam”. Yet Alecia “Pink” Moore wasn’t too happy with having her sound controlled by pop svengalis, which is why 2001’s breakthrough album M!ssundaztood was her statement of defiance. Her 2000 debut Can’t Take Me Home was very much the pre-packaged pop disc that could only be made by a girl who was “edgier” than her then-contemporaries Britney Spears and Jessica Simpson. Then again, Pink’s album titles have always been good indicators of their contents.
Truth be told, Funhouse is as misleading an album title as you can possibly get. Pink’s Funhouse is rife with promise: post-divorce, it’s Pink’s time to party, and as lead single “So What” shows, she’s going to do it on her own terms: guitars screaming all around her while she gives the middle finger to the sky and continues her riotous bout of midday drinking, relishing her newfound independence and having a damn good time in doing so.
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