With the subtle emergence of cherry blossom season and volatile outbursts of blazing winds and rainstorms, it’s clear we are living in a season of uncertainty. Fortunately, Zayn Malik’s fifth studio album, KONNAKOL, exudes the palpable hope fluttering about in the air. With this new release, Malik affirms his new, authentic style to his audience by masterfully blending R&B with hints of South Asian harmonies.
His past album, ROOM UNDER THE STAIRS, signaled Malik’s emotive rebrand as he began delving into his past and vulnerably singing about his insecurities. While still channeling the theme of personal growth and development set in his underrated fourth solo album, he shifted his approach with this new tracklist. Through its heritage-inspired direction, his most recent album allows fans to understand a different side of Malik — one authentically undertaking the convoluted themes of love, avoidance and personal shortcomings.
Konnakol, defined as the act of vocally mimicking percussion instruments, is a foundational aspect of the South Indian musical tradition. Although he is often praised for mature, alternative R&B songs, Malik introduces a new dimension to his repertoire. As he ventures deeper in his journey with fatherhood, the British singer highlights a transitional narrative away from blatantly cheeky music. Instead, he creatively interweaves contrasting genres and harmonies, allowing him to break out of the mold his past affiliation with the English–Irish boy band One Direction placed him in.
The album opens with “Nusrat,” where Malik reflects on overcoming hardship and the burden these struggles placed on relationships in his life, like his contentious breakup with American supermodel Gigi Hadid. Titled with an Urdu term meaning “help,” he candidly exposes his newfound emotional intelligence. He sings, “On a plane, I swear it's easier to see / The leaves are gonna change,” highlighting his new perspective on life and overcoming stagnancy. To fans that have been supporting him since his days in One Direction, he contends that he has since gained clarity and is changing his approach to relationships after his past mistakes.
In the third track, called “Used to the Blues,” the 33-year-old father sings, “Cigarette don't hit me like it used to,” portraying a turbulent transition through adulthood and distance from bad habits. However, continuing through the queue, he contrasts the earlier tracks by focusing on the themes of love and escapism from his emotions. Yet, in “5th Element,” he demonstrates his newfound self-awareness by singing, “Lost in the emotion swimming in my head,” and “None of it’s getting better,” as he goes on to request being taken to his partner’s “safe place.” He acknowledges how he has simply been seeking safety in his relationships to hide from his spiraling emotions.
By the seventh track, Malik reflects on his flaws in past relationships, singing, “Gonna try to be the one for you / But I know I got some work to do.” This novel maturity is a breath of fresh air from his blatantly explicit songs, revealing his newfound conceptualization of love as a partnership and opportunity for introspection rather than mere physical pleasure. That being said, the next few songs reverted to a more cheeky tone. But by infusing the queue with sensual tracks, like “Met Tonight” and “Take Turns,” he emphasizes how love can be multifaceted, striking a balance between self-discovery and physical desire.
By track 10, the feeling of stagnancy and resistance when nearing self-actualization becomes clear. In “Blooming,” the Grammy-winning artist powerfully sings, “Maybe I was my own Achilles,” referencing the mythological tragic hero, Achilles, a warrior in the Greek army during the Trojan War. In this tragedy, Achilles was made invulnerable by the River of Styx, except for his heel, which ultimately caused his demise. By alluding to this tale, Zayn profoundly recognizes his self-sabotage in the past and its impounding repercussions.
And, finally, while the pop hit “Die For Me” was our first glimpse into the album, the track was strategically placed at the end of the queue. The witty lyrical masterpiece was an ode to himself, emphasizing his budding authenticity and solace in solitude. His vocals are breathtaking as he sings, “I'll sleep just fine without you.” By placing this piece at the end of the setlist, Malik intentionally shows his fans that he is more than his lost relationships and has found himself through embracing his mistakes.
All in all, I was not disappointed by this album. I would argue, however, that ROOM UNDER THE STAIRS was superior. Nonetheless, this setlist showcases Malik’s evolution from his time in 1D to his first releases as a solo artist to now vulnerably and wholeheartedly navigating adulthood and fatherhood. It seems abundantly clear to me that Malik has found his own voice, inspiring us all to do the same.
Ava Tafreshi is a member of the Class of 2028 in the College of Arts and Sciences. She is a staff writer for the Arts & Culture department and can be reached at atafreshi@cornellsun.com.
