Month: February 2025

Week 7: Taylor Swift- Lover (Live from Paris)

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The original album, released in 2023, was recently re-released as a 72-hour limited edition for Valentine’s Day, a move that propelled it to the top spot on the charts after initially entering at a humble 90 two years ago. Sonically, it may not be groundbreaking, but as a recorded extended play, the clarity is exceptional. It’s crystal clear, with no soundboard interference. What’s truly impressive is the balance between the crowd and the performance. The crowd’s energy is palpable, adding a unique dimension to the recording. It didn’t use in-ear monitor recording, which makes it stand out.

This EP has been panned in the past for lacking the energy of her usual live shows, but I absolutely love “Lover (Live from Paris)” because it is Taylor laying her soul with acoustic versions of songs familiar among the Swifties. I have always said that I admire Taylor’s acoustic performances, so even though this record is only half an hour, it was a joy to listen to it, especially ‘Death by a Thousand Cuts’, sounding like a blend of Travis and The Libertines during the verses. ‘Cornelia Street’ sounds like The Script and Train. ‘The Man’ sounds like Ed Sheeran. Of course, some of the tracks have more to them. What I mean is some substitute the guitar for a piano, and some go electronic. However, it is the acoustic guitar tracks that shine for me.

If you dislike Taylor’s music, you might change your mind after hearing her perform acoustically. Now, I am not a Swiftie, but I do enjoy listening to her music, especially when she does intimate shows on the acoustic. This is where you can hear the songwriter in all their glory.

Song recommendations: ‘Death by a Thousand Cuts’, ‘Cornelia Street’, ‘The Man’

8/10

Week 6: the Weeknd- Hurry up Tomorrow

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It is absolute nonsense that this will be the last album by the Weeknd. He has hinted that he might “kill” his alter ego and start again as Abel Tesfaye. He has also hinted that he might retire from music altogether, and I simply ain’t buying it despite what it says on the opening track ‘Wake Me Up’ on the intro. The album is the trilogy’s final part that includes “After Hours” and “Dawn FM”, both of which I have previously reviewed. Once again, the record is full of synthesisers and nods to that 80s retro sound, a style that has been a defining feature of his music of late. The only plausible reason this might be the final album is that he lost his voice onstage during a concert in 2022. He believes that it was some sign to tell him to stop while he was at his peak.

Abel went into acting in 2023 when he starred in The Idol, which could be another reason he wants to leave music behind. However, after hearing about the drama, it appears he should stick to music. Of course, on his previous album, “Dawn FM,” which was about a radio station in the afterlife, he talked about the end of his alter ego, but this time, he does appear to be hinting at leaving music.

His latest instalment, “Hurry up Tomorrow”, kind of acts as a film as it lasts 88 minutes. He has the legendary Giorgio Moroder on ‘Big Sleep’, which features the score from Scarface, and there is a nod to the film Eraserhead. I heard Abel also wrote a film to accompany the record. It is not your usual short film for an artist, but a full-length film starring him. There are several covers for the sleeve, and the used for streaming platforms looks like a film poster. Again, with these two things alone, Abel is hinting that his heart now belongs on screen.

Unlike his previous albums, where his alter ego’s malevolent nature was a dominant theme, this album presents a more nuanced perspective. The evil side of his alter ego is a rare occurrence, adding an element of intrigue and curiosity for the audience.

While the production is mostly enjoyable, the lyrics and subject matter fall short. If this is the artist’s final work, it’s a departure that lacks his usual style. The constant lamenting about wealth and fame becomes tiresome. Is it a great shame that this is how he has chosen to exit the music scene? The title track that concludes the record holds a surprise-a hidden track featuring a section of his legendary ‘The Hills’. This hidden gem serves as a reminder of the artist’s legacy, but it’s a bittersweet note to end on.

Song recommendations: ‘Big Sleep’, ‘Wake me up’, ‘Hurry up Tomorrow”

7/10

Week 5: Central Cee- Can’t Rush Greatness

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The only tracks that didn’t quite hit the mark for me were the ones that featured American or American-based artists , 21 Savage, Lil Durk, and Lil Baby. While these collaborations were undoubtedly high-profile, they seemed to lack the raw authenticity and personal storytelling that Central Cee brings to his solo tracks. That aside, the rest of Central Cee’s debut is excellent. Cench has been making waves for a while now. So much so that he is now in his mid-twenties, which is hard to believe. Of course, the lad from West London talks a lot about his journey from Shepherds Bush, living a stone’s throw away from Loftus Road, where Queens Park Rangers reside, to international fame.

Central Cee has been a Drill artist I have always respected because he doesn’t talk shit about killing people. He talks about the pitfalls of that lifestyle. Cench has always worked well with Suntan Dave, as shown with ‘Sprinter’, and the pair collaborate once again for ‘CRG’. This track certainly is chart-friendly and gives off an African vibe. It could be Afrobeat, but I tend not to listen to much of that due to the artists’ insistence on using autotune excessively. I especially love Cench’s delivery here as he goes slow, choppy, to rapid in an instant.

The album’s production, which is done by an army, needs a special mention. It is more relaxed and uses rimshots and hi-hats over the subs and kicks associated with Drill. Of course, the producers were wise to go with this option because it makes it more appealing to the mainstream.

What I particularly like about “Can’t Rush Greatness” is the stark contrast Cench presents between his past and present. Despite moving on and buying the luxuries he could only dream of growing up, he remains grounded. He has moved away from the grimy streets of West London but still doesn’t forget where he came from. Cench has achieved this by talking about the journey out of the ends, a journey that was not always easy, with very little about his life of luxury now. He confessed feeling apprehensive about talking about where he is from because things have changed a lot. He didn’t want to be perceived as a hypocrite.

‘Don’t Know Anymore’, which closes the records, chronicles his transformation from poverty to wealth. He reminisces about the days when he and his siblings depended on free school meals. His journey from cutting the mould off the loaf of bread to his current success is a source of pride. His lyricism and flow, with each listen, evoke a sense of admiration for his growth.

Cench, in his own words, admits he’s not the best songwriter, often choosing to freestyle over an instrumental. Yet, this approach, born out of his self-awareness, works effectively. Whether he constructs a song like that honestly, I can’t say. But if he does indeed write songs, he’s doing himself a disservice because his lyricism is nothing short of phenomenal. He’s not just self-aware, but also impressively savvy with pop culture, and wears his heart on his sleeve. As I mentioned, only three tracks fall short, but the rest of it is excellent. A marvellous debut.

Tracks to avoid: ‘GBP’, ‘Truth in the Lies’, ‘Band4Band’

8/10