Reflecting on 20 Years of Usher's Confessions
Usher’s diamond-selling magnum opus turns twenty years old next month. We’re celebrating two decades of Confessions, an album that defined a generation in another edition of Usher Week.
Before his ascension to the throne of R&B royalty, Usher Raymond IV was a burgeoning star, honing his craft under the guidance of LaFace Records’ founders, Antonio “L.A.” Reid and Kenneth “Babyface” Edmonds. His beginnings were humble; as a choir boy in Chattanooga, Tennessee, he showcased his talents at local talent shows. His mother’s move to Atlanta marked a turning point. At 14, Usher’s rendition of Boyz II Men’s “End of the Road” impressed L.A. Reid enough to sign him on the spot.
Usher’s self-titled debut album, released in 1994 when he was just 15, showcased a maturity beyond his years with songs steeped in adult themes of love and desire. His early work drew comparisons to Tevin Campbell, yet Usher’s style was distinguished by an old soul’s sensibility and a flair for performance that bordered on theatrical. His stage presence was undeniable, combining the elegance of a ballet performer with the audacity to entertain with bold antics, such as revealing his boxers during a dance routine. Above all, Usher’s technical skill as a vocalist and unparalleled ability as a dancer set him apart.
Usher had already cemented his status as a chart-topping artist with hits like 1997’s sultry ballad “Nice & Slow” and “U Remind Me” from his album 8701, earning him his first Grammy. He followed up with another hit, “U Got It Bad.” He envisioned a slow-tempo lead single for his next project, but instead, “Yeah!” became the unexpected dynamite that propelled the anticipation for his untitled fourth effort. Produced amidst Atlanta’s burgeoning crunk scene by Lil Jon, known for his high-energy shouts, and featuring Ludacris as the irreverent sidekick, “Yeah!” dominated the charts for 12 weeks straight.
Usher brings us into a world where vulnerability, joy, heartbreak, and redemption are not just themes but experiences we live through alongside him. The album, known for its sincerity and emotional depth, starts with an “Intro” that doesn’t need words to set the emotional tone. Through Confessions, Usher shares a narrative that’s both personal and universal, discussing infidelity and its consequences, challenging us to see the complexity of love and relationships.
Confessions is distinctive for blending different musical styles and eras through its lyrical content and production techniques, making it his most essential album. Usher invites us to empathize with characters who might otherwise be dismissed. His undeniable charm makes it impossible not to understand the album’s deeper messages by the end of this musical journey. This is where Usher excels, turning what could be seen as a grave mistake into a moment of reflection and understanding.
In the R&B Money podcast, Bryan-Michael Cox recalls the lack of pressure they felt while creating the album because they approached it like any project, focusing on creating quality music. The first song they wrote for Confessions was “Burn,” which set the tone for the rest of the album. Cox describes the songwriting process as collaborative and organic, with him and Usher contributing to the lyrics and melody. He shares an anecdote about how the concept for “Burn” came about during a personal conversation, which then translated into the songwriting.
He then delves into the creation of “Confessions Part II,” explaining that it was initially titled “All Bad.” The song’s concept was influenced by “Ignition,” particularly the idea of creating a sequel or part two of a song. Cox details how they developed the narrative for “Confessions Part II,” which involved a storyline where the protagonist impregnates another woman. This personal and detailed narrative led Cox to believe it was based on real-life events. Cox also discusses the internal debates within the record label about the potential success of “Confessions Part II.” Some A&Rs were skeptical, but others, like Memphis and Daryl Jones, were convinced of its hit potential. He recounts the moment when the song was leaked by Lil Jon, which then led to its widespread success.
Despite the initial hesitation and preference for the introspective “Burn,” “Yeah!” ultimately became an anthem. Meanwhile, “Burn” presented itself as an emotional odyssey through heartache with its poignant opening and somber melodies. As Usher croons about irreversible mistakes and lost love—“I know I made a mistake/Now it’s too late/I know she ain’t coming back”—his voice conveys feelings from passion to sorrow. Jermaine Dupri reflected on this track in a 2014 Complex interview, likening its emotional impact to the sound of someone weeping.
His narrative was one of a pop star at a crossroads, grappling with personal issues while crafting a hit album. His relationship with Rozonda “Chilli” Thomas from TLC had ended amidst turmoil and accusations of infidelity, a theme that would become central to Confessions. Despite the personal nature of these events, Usher utilized them for creative inspiration, presenting the album as a candid reflection of his life. Yet, he played with the truth, allowing the public to believe that the songs were solely based on his experiences.
Released in the spring of 2004, Confessions breaks the mold by using storytelling to navigate through the convoluted terrains of love, celebrity culture, and personal growth. Usher tells a story that blurs the lines between reality and fiction, questioning whether the album is a confession or a broader commentary on the pressures of modern relationships and the pitfalls of fame. At a time when celebrity culture was becoming more pervasive and invasive, Usher took control of his narrative, offering a glimpse into the complexities of his life and the industry.
The creation of Confessions involved strategic omissions and artistic liberties. Usher admitted to Rolling Stone that he had unconventionally proposed to Chilli but maintained that he was ambivalent about marriage. The narrative surrounding the album suggested it was an intimate confession of Usher’s misdeeds. However, Jermaine Dupri later revealed that the content was a collective portrayal of various indiscretions by its male creators. “Confessions Pt. II,” for instance, drew from Dupri’s life rather than Usher’s. This approach mirrored Michael Jackson’s enigmatic storytelling in songs such as “Billie Jean,” where fact and fiction are deliberately blended.
Despite questions about the authenticity of his album’s narrative, Usher’s ability to tell a compelling story through music was undeniable. He possessed all the attributes necessary for stardom: a strong catalog of music, dynamic stage presence, an exceptional vocal range, and an infectious charisma. His single “Yeah!” transcended its simple lyrics to become an iconic track that defined an era in music. To reach the heights of his idol Michael Jackson, Usher knew he needed more than just catchy tunes; he needed a narrative that resonated with fans. Thus, he exploited his personal life for artistic material with Confessions and subsequent albums like Here I Stand and Raymond v. Raymond.
Usher’s strategy paid off handsomely as Confessions became a commercial juggernaut, selling over a million copies in its debut week despite rampant illegal downloading at the time. The album bridged two eras: the R&B dominance of the early 2000s and the genre-melding sounds of the 2010s exemplified by artists like Drake. It stood out among its contemporaries and achieved diamond status, cementing its place in R&B history alongside legends like Boyz II Men and TLC. Usher’s success with Confessions showcased R&B’s broad appeal and underscored his ambition to bring greater prominence to the genre.
Influenced by iconic figures like Stevie Wonder, Sam Cooke, and Marvin Gaye, Usher sought to emulate their heartfelt vocal delivery that resonated with personal life experiences. He articulated this approach in a 2004 interview: “You live, you learn, and you can sing about it.” This philosophy is embodied in Confessions, which offers an introspective look at infidelity and the complexities of human emotion. The album’s production, crafted by luminaries such as Jermaine Dupri, Bryan-Michael Cox, Just Blaze, and Jimmy Jam and Terry Lewis (with The Avila Brothers and James “Big Jim” Wright), envelops listeners in layers of sultry soul and smooth rhythms reminiscent of an intimate dance on silk sheets.
Confessions stands out not because it tries to fabricate maturity to validate its existence but because it genuinely reflects Usher’s revelations. Despite the crowded recording booth with numerous collaborators, Usher’s voice carried authentic confessions that resonated with sincerity. This project was a candid reflection of a man wrestling with his truths through song within an hour and a half.
The album’s success was further cemented by hits like “Caught Up,” which showcased Usher’s willingness to experiment with different producers, Dre & Vidal, bringing a fresh, upbeat sound that diverged from the album’s more introspective tracks. This song and others demonstrate Usher’s ability to create music that resonates on multiple levels, from its catchy rhythms to its deeper emotional undertones.
His magnum opus builds upon the vibrant atmosphere of his previous work, particularly the third album, 8701. It delves into themes of vulnerability and the complexities of sexual relationships entangled with deceit. The narrative crescendos in “Confessions Pt. II,” where Usher grapples with the moral dilemma of confession versus silence, ultimately opting for full disclosure: “If I’m gonna tell it, then I gotta tell it all.” This track becomes the linchpin for the album’s overarching message about the torment of a guilty conscience. Throughout the album,
What makes Confessions stand out from most R&B releases were the minimal use of samples, a choice that sets it apart from other contemporary R&B and hip-hop music. The use of Willie Hutch’s “Mack’s Stroll/The Getaway (Chase Scene)” in “Superstar” and Harold Melvin & The Blue Notes’ “Is There a Place for Me?” in “Take Your Hand” not only pays homage to musical influences but also enhances the album’s emotional and sonic depth. These samples, alongside contributions from veteran producers, adding layers to Usher’s storytelling.
Usher navigates a spectrum of emotions from pain to regret, particularly in the Just Blaze-produced “Throwback,” which samples Dionne Warwick’s “You’re Gonna Need Me.” Here, he laments over a lost love written by Rico Love with lines like “Heartbroken when you left my world/Man I wish I would’ve kept my girl.” Yet in “Truth Hurts,” while confronting his partner with accusations, he reveals his unfaithfulness as the underlying cause of his distrust, while “Bad Girl” and other tracks highlight Usher’s dynamic talents—his voice, moves, and charisma come together in a spectacle of musical and emotional depth. The album’s narrative arc, from the thrill of new love through the complexities of betrayal to the quest for redemption, captures the messiness of human relationships.
The deluxe edition of Confessions enriches the album with four additional tracks, including the tender duet with Alicia Keys, “My Boo.” While the album’s blockbuster hits often overshadow its other songs, these lesser-known tracks (except “Seduction”) are not merely space-fillers but rather undiscovered gems. Usher’s falsetto is particularly striking, reaching peak sweetness on tracks like “Can U Handle It?”—penned in part by Robin Thicke—and “Do It to Me.” These songs and others suited for late-night listening depict Usher’s struggle between desire and commitment. “Simple Things” stands out as a heartfelt reminder of the importance of attending to the needs of women.
In the album’s second half, Usher transforms his personal reflections into spirited encouragements. The song “That’s What It’s Made For” delves into the repercussions of casual intimacy, possibly hinting at the narrative from “Confessions Pt. II,” with lyrics that confess a momentary lapse: “I slipped up, slipped in.” This track begins with Usher’s hushed yet urgent invitation: “Listen, I got a story to tell.”
The Rich Harrison-produced “Take Your Hand,” nestled near the album’s end, unfolds in a striking bass line that echoes the soulful essence of Harold Melvin & The Blue Notes’ “Is There a Place for Me?” This selection isn’t just the backbone of the song’s relatively straightforward production but also reflects its emotional inquiries. The voice of Teddy Pendergrass, an iconic figure in soul music, brings to life the poignant question of reconciliation with a lover. As we approach the closer with this sixteenth track, Usher’s uncertainty lingers.
Ultimately, Confessions does more than share stories by challenging and redefining what R&B music can be. It’s a deep dive into the complexities of relationships in the modern age beyond love songs and sensuality. The album’s authenticity and emotional honesty have made it a landmark in music history, resonating with listeners who see their own truths reflected in Usher’s words. As Usher presents it, love is complicated and messy but also deeply human and relatable. Through his exploration of these themes, Usher reminds us of the power of music to connect, reflect, and heal.
Decades later, in 2020, Usher continues to champion transparency in his music career. During a September interview, while introducing his single “Bad Habits,” he reflected on how therapy has been beneficial and recognized Confessions as a turning point professionally and personally. He posed a rhetorical question about judgment for his forthrightness in relationships—whether with a partner or his audience—stating, “I’m gonna let you know who I am. And in the end, you choose to stay, or you choose to leave. But you’re gonna know who I am.”
Whether he’ll keep the same energy toward his ninth studio album come Friday is to be determined, but you cannot deny that Usher was the R&B Artist of the 2000s. With Confessions, his commitment to authenticity has fostered personal growth and professional triumph, resulting in one of pop music’s most flawlessly executed narratives.