Music

On May 18, 2009 it was revealed so far Sparks had recorded 30 songs for the album but would select songs that fit well with the first single "Battlefield" since that was now also the name for the album.^[5] Later in May during an interview with Digital Spy,^[6] Sparks revealed that she has been involved in writing songs for the album, in total contributing to about 12 of approximately 30 recorded songs. She also revealed that although the album had at that time produced no duets she was hopeful to collaborate with Leona Lewis for a powerful ballad. When asked who else she would like to collaborate with she said Fergie, Justin Timberlake, and Alicia Keys.^[6]

None of these collaborations materialized although Sparks did confirm in an interview that she had made a pact to record a duet with Lewis for her future album as she believes the duo could be the next "Whitney Houston and Mariah Carey". The reason cited for no duets on this album was a lack of time and tight deadlines.^[7] As mentioned previously there are no vocal guests on the album although Tedder can be heard single backing vocals and ad-libs on the album's title song "Battlefield". Originally the album was intended to feature one guest in the form of T-Pain who had produced and appeared on the song "Watch You Go" with his signature vocoder (singing autotune), but for unspecified reasons this version of the song was omitted and replaced with a solo version featuring just Spark's vocals.^[8] Furthermore, of the 12 songs she has penned four have made the final version of the album ("Emergency (911)", "Was I the Only One", "Faith" and "The Cure") whilst a further two are being used as promotional songs (bonus tracks "Vertigo" and "Papercut"). All together between 30 and 40 songs had been short-listed for inclusion in the album, from which the final track list was selected and mastered.^[1]

Singles

• "Battlefield" is the first single from the album peaking at number ten on the US Billboard Hot 100 and number five on the Canadian Hot 100. Internationally the song reached number three on the New Zealand Singles Chart, number four on the Australian Singles Chart, nine in Ireland, and eleven in the UK.^[15]
• "S.O.S. (Let the Music Play)" was confirmed to be lined up as the second single by Jordin Sparks on a radio interview with New York's Fresh 102.7.^[16] The song was released in Australia on September 4, 2009^[17] and in the US on September 29, 2009.^[18] It was released in the UK on October 12, 2009.^[19] The video was shot^[20] in Los Angeles, California on August 10, 2009, with Chris Robinson serving as the director. He also worked with Sparks on the "No Air" music video.^[21]
• "Don't Let It Go to Your Head" is the third and final single to be released from the album. It was released as a digital download on January 8, 2010 in the UK only.^[22] It was released as a digital download with "Landmines" as the B-side.^[23]

Tour

On March 15, 2010 it was announced that Sparks was going on her first headlining tour, the Battlefield Tour in support of her second studio album of the same name.^[24] The tour kicked off on May 1, 2010 in Uncasville, Connecticut and saw Sparks performing at 39 intimate venues across the US such as theaters, ballrooms, amusement parks, and casinos. The tour ended on July 18, 2010 in Philadelphia, Pennsylvania.

Commercial performance

The album debuted at number 7 on the US Billboard 200, selling 48,000 copies in its first week. It charted three spots higher, but also with lower sales than her debut album. As of July 2015, the album had sold 190,000 copies in the United States.^[35] The album has sold over 600,000 copies worldwide by September 2010.^[4]

Critical response

Upon its release, Battlefield received generally mixed reviews from most music critics, based on an aggregate score of 63/100 from Metacritic.^[36]

The Guardian writes "The 2007 hit 'No Air' gave you the breathy, cleancut gist; this second album employs the same tricks - almost literally, in the case of 'Let It Rain', which has a tremulous build-up and heroic chorus ("Let it rain, wash me clean," she commands). Squelchy electronics and a relatively earthy lyric ("Look in her eyes, she's mentally undressing him") give 'S.O.S.' an urban hue, and the clattering 'Let It Rain' is modern R&B worthy of Rihanna. Regrettably, though, Sparks sounds more comfortable with power ballads such as 'No Parade'; and there's an inner Pat Benatar struggling to get out on the title track. OK if you like this kind of thing."^[37]

Slant Magazine writes "Sparks is a pop artist and makes no bones about it here. Much of the album's running time is filled with the kind of soggy adult contemporary pulp that weighed down both the singer's self-titled debut and Leona Lewis's Spirit, and the addition of two paper-themed bonus tracks, "Papercut" and "Postcard," on the deluxe version of Battlefield doesn't help matters. One wonders if it would have been a smarter move in terms of career longevity to try to build on the urban audience she started to cultivate with 'No Air'."^[38]

Entertainment Weekly said "Battlefield certainly delivers on the artistic end: It's packed with more hooks than a fisherman's tackle box, none better than on the gorgeous title track, which sports a soaring chorus. Resistance is futile when Sparks, showing heretofore unseen vocal dexterity, takes to the dance floor to ward off a vixen who's barking up the wrong boyfriend. There is actually enough potential hits to keep the singer in heavy rotation until well into Idol's 10th season."^[39]

Digital Spy also gave the album a generally mixed review, writing, "Nothing here is as irresistible as the single, a brilliant update of the '80s arena rock sound that deserves better than its middling chart performance, but several tracks aren't too far off. 'Don't Let It Go To Your Head' [and] 'Let It Rain'... offers lots of soft rock bombast." However, the reviewer also criticized the album for "sentimental mush in its final stretch, with Sparks delivering a series of threadbare clichés over dull, dated arrangements...The result is an album that improves upon Sparks' debut – it doesn't try so hard to cover all of the bases, and Sparks sounds more comfortable on the uptempo cuts – but has the same Achilles heel: a paucity of really memorable songs. Then again, faced with some tough choices and release date approaching, it's hard to blame Sparks – still only 19, lest we forget - for sticking a little too closely to the middle of the road."^[40]