Destiny’s Child — The Writing’s On The Wall
Throwback Review | December 2023
Destiny’s Child’s sophomore album helped push the group to become one of the biggest and most popular R&B groups towards the new millennium. Over twenty years since the its release it still holds up as a great R&B project from the 1990s.
Destiny’s Child (left to right: Kelly Rowland, LeToya Luckett, Beyoncé and LaTavia Roberson)
The 1990s is arguably one of the most revolutionary decades within R&B. With the rise of Hip-Hop from a commercial perspective, R&B would become intertwined and influenced by Hip-Hop. Acts such as Jodeci, Aaliyah and TLC would frequently collaborate with Hip-Hop artists and adopt a mix of Hip-Hop and R&B sounds when creating their albums. Many of these acts would become huge names within the R&B world and are fondly looked back at thirty years on. In the mix of these times and artists during the mid- to late 1990s, four young women would try and stamp their mark within the genre. Beyonce Knowles, Kelly Rowland, LeToya Luckett and LaTavia Roberson. Signed to Elektra Records under the name Girl’s Tyme, they would soon be dropped from the label and would sign with Colombia, feature on the Men in Black soundtrack and release their self-entitled debut album in 1998.
The group’s debut performed moderately, backed with the lead single “No, No, No”, which would become their first successful single. Yet, Destiny’s Child were a far cry from being the commercially successful group that they would become later on. With the second album, The Writing’s On The Wall, everything would change. Sonically it moves away from the melodic soulfulness of their debut, to a more unique and slight futuristic sound. That’s not to say the album is experimental, but it was different to your average R&B project from the 90s. Enlisting the help from producers such as Darkchild, Timbaland and Kevin "She'kspere" Briggs, who also produced “No Scrubs” for TLC that same year; The Writing’s On The Wall consists of four phenomenal hit songs that are loved to this day.
The first part of The Writing’s On The Wall includes two of those hit singles, that being “Bills, Bills, Bills” and “Bug A Boo”, which were also the first two singles off the album. In comparison to “No, No, No” from their debut, both singles are a complete shift both vocally and sonically. Sure, “No, No, No” is a good record itself, however the first two singles off their sophomore album are so unique sonically, especially for its time. With the former single being the group’s first number one hit single. Content wise, the group touches upon themes of female independence and strength, with tracks like “So Good” and “Hey Ladies”. Plus, there are multiple tracks that are centred around unfaithfulness and infidelity, both from men and women. You’ll hear this with songs such as “Confessions” written by and featuring Missy Elliott, “Temptation”, “If You Leave” featuring Next and not to mention “Say My Name”.
If there was an exact moment where Destiny's Child crossed over and became the huge sensation that they became that moment would be “Say My Name”, the album’s third single. The biggest and most important song in the group’s history. The song is produced by Darkchild, who is behind multiple hit R&B singles, such as “The Boy Is Mine” by Brandy and Monica and “He Wasn’t Man Enough” for Toni Braxton. “Say My Name” is written from a first person narrative where a women suspects their male partner of cheating and dares him to say her name to prove that he’s not. However, her partner hesitates proving that he is, because he doesn’t want his mistress to know his main girlfriend’s name. Another number one hit for the group, the single was Destiny’s Child’s breakthrough hit and is arguably what influenced the opportunity for Beyoncé in particular to have a solo career. Being the main vocalist on the biggest song of their biggest album was proof that Beyoncé was the main focal point within the group. Her vocal performance is fantastic, over Darkchild’s mix of fast and slow paced production.
Though it must be noted that the song is connected to controversy. On the record it does consist of backing vocals from LaToya and LaTavia, but they were dropped from the group hence why they aren’t in the music video. Instead they are replaced by Michelle Williams and Farah Franklin. Williams remained with group up until the group’s final album, 2004’s Destiny Fulfilled. Whilst, Franklin on the other hand left the group after only five months.
The group however weren’t done there as they still had another hit song in the chamber. The catchy and up-tempo dance track “Jumpin, Jumpin” is a pleasant break from the rest of the project’s content as it’s main purpose is just about having a good time essentially. Not containing the strongest instrumental out of all the singles on the album, but it’s still a good track nonetheless with a great chorus. As much as the LP is quite consistent with both great singles and album cuts, there are a couple tracks that could have been left out, in particular the previously mentioned “If You Leave” featuring Next. A ballad where mainly both the lead singers from each group, that being Beyoncé and R.L., sing back and forth. Singing for the desire of one another and considering to leave each other’s respective partners to be with each other. Romantic duets between male and female singers had been done countless times before, especially in the 1990s, but “If You Leave” just isn’t one of the best. Vocally together Beyoncé and R.L. aren’t believable, and Beyoncé and Destiny’s Child vocally sound better and outperform the men.
Though with a couple of hiccups, The Writing’s On The Wall is stacked with great tracks and is an enjoyable listen pretty much throughout. It provides you a variety and a nice blend of sounds. It’s impact is clear, along with the likes of Brandy and Usher, Destiny’s Child set the tone of what R&B would sound like for the most part of the 2000s. Carrying the torch from TLC as the biggest female R&B group. Similar to the likes of Mariah Carey’s Butterfly, Destiny’s Child took more control of the direction of the album and it helped. Released when they were between the ages of just 17 and 18, the album’s content is a modern reflection of youthful relationships. Along with the production, it’s perhaps the reason why the album is timeless. It has aged incredibly well, particularly the singles, which continue to be cherished by the generation that experienced the group's heyday and the generations that came afterwards.