REVIEW: The Doorbeen’s Prada is an Alia Bhatt show all the way, but is it enough?
By Bryan Durham - August 13, 2019
The follow-up to The Doorbeen’s Lamberghini is here, thanks to Jjust Music. Called Prada, it paints Alia Bhatt, who makes her debut in an independent music video, as a materialistic girl.
Lyrically, it furthers the stereotype that a Punjabi munda is always tired of fulfilling his girlfriend’s high-flying demands. It’s her way or the highway.
Which is empowering, come to think of it.
But at the same time, The Doorbeen is saying nothing earth-shatteringly different that Punjabi pop songs already aren’t.
Musically, they’re treading familiar turf. If Lamberghini was a reimagined Punjabi Tappe (Jagjit & Chitra Singh, Prada is a reimagined Koi Sehari Babu (Loafer, 1973). The good thing about their “reimaginings” is that sonically, while the hook is familiar one, they adapt it enough to make it sound like you’re seeing it with new eyes.
And while the absence of expectations for Lamberghini went a long way in wowing you with its chill vibe and unique sound, the fact remains that you’re only as good as your last hit song. You either go bust or go home.
And while Alia Bhatt starring is a plus, one has to say that, by comparison Prada is underwhelming. Lyrically, it is neither personal, relatable or inventive. Sonically, it feels too reliant on the hook. But it does start out promisingly.
Vocally, The Doorbeen and Shreya Sharma are on-point. And to be fair, the song works as a dance number.
But visually, all anyone will tell you is how great Alia looks. And while that will come as a surprise to nobody, one wonders how despite having a fresh vision (video director Crevixa is actually quite out-of-the-box) and a known Bollywood choreographer (Bosco Martis) on board, can something not blow you away at first glance.
Maybe, we expected more. Maybe The Doorbeen felt they had done enough. Maybe they thought Alia starring would be enough to see them through. You never know these days, maybe it will be.>