I’ve always admired Paul Heaton’s ability to blend clever lyrics with catchy tunes, and it’s not fading anytime soon. Most of “Jenius” is fucking great. I love how warm, lively, and full of personality it is, with songs suited for a sing-along in a pub, rather than to listen to in a quiet space.
I fucking love the Celtic-punk knees-up spirit running through it; songs like ‘Favourite Kind of Idiot’ express that, and I’m so fucking proud of Rianne Downey since I first struck up a conversation with her during lockdown. It’s fucking mental to see her on telly or hear her on a record like this; it’s like a surreal experience. Anyway, back to the song: I fucking love the energy, and how the song feels like it would get messy in a pub when it’s played. ‘She Ain’t Pretty’ is another one that showcases that. Paul also moves through folk, ska, country, and pop without ruining the album’s feel.
Like I said, I am buzzing about little Rianne, and she was fucking amazing on this. Her voice is a perfect fit with Heaton’s. Rianne isn’t just a supporting artist, but a key part of the record. She is great on ‘Favourite Kind of Idiot’, ‘I Want the Job’, ‘She Ain’t Pretty’, ‘Do Not Ask Me’, ‘Don’t Lean on Me’, ‘The Whisky Did’, and ‘Before Before’, and those songs wouldn’t be the same without her. Even though she’s not mentioned on the other tracks as a featured artist, she is clearly there. I recognise that voice anywhere.
There are also trademark tracks like ‘Sad Songs and Lawsuits’, which is ska-influenced, and ‘Can’t Get Next to You ’, the opener sets the tempo for the rest of the album. It also has an American pop-punk intro. ‘Jet Black Sky’ is more atmospheric before the album’s catchy and energetic tracks return.
I can’t remember which track it is towards the end, but there’s a nod to the guitar riff chorus of Jimi Hendrix Experience’s ‘Voodoo Child(Slight Return)’. Anyway, all 15 tracks matter; there’s no filler here. Paul hasn’t lost the knack for writing about relationships, drinking, people, politics, and speaking his mind. The lyrics are often observant yet funny, but the production pairs those subjects with lively, fun music.
“Jenius” was fucking amazing. Even when the tempo calms, the album picks up again with that fucking great Celtic-punk energy. My favourites are definitely the ones with Rianne.
I fucking love the record’s warm, funny, melodic, and wonderfully rowdy nature. You can definitely tell that it was a fucking joy to be part of the recording sessions. If anyone hates this, they’re just a miserable cunt. This was an absolute pleasure to listen to.
Song recommendations: ‘My Favourite Kind of Idiot’, ‘She Ain’t Pretty’, ‘Before Before’
I was quite a fan of “Stick Season”, released four years ago, so I was naturally looking to “The Great Divide”, but unfortunately, it is a laborious listen that depends on mood and consistency, which does not work in the album’s favour. The opener is ‘End of August’, followed by ‘Doors’, which sets a reflective tone for the rest of the record. ‘American Cars’ and ‘Downfall’ keep the tone, but do not deviate much from the album’s tempo. There are a few times that the sound is like The War on Drugs, but a tamer version of the psychedelic shoegaze band.
Of course, that does not mean the record lacks highlights. Indeed, there are a few, starting with the title track, which has a stronger emotional build, and ‘Dashboard’ has some much-needed energy. Noah, maybe, should have done more of those songs because they have a bigger, more dynamic sound.
The middle section is where the problems with the album are most evident. ‘23’, ‘Porch Light’ and ‘Deny Deny Deny’ all sound the same regarding emotion, instruments, and tempo. Although the lyricism is deeply personal, the album drags due to a lack of variety.
As the record closes out with ‘We Go Way Back’, ‘Spolied’, ‘All Them Horses’, and ‘Dan’, the running theme is still present, but there is not much change since the first listen. The album may be held together by emotional consistency, but it makes your attention waver because it all sounds the same.
The record is deeply personal with some strong tracks, but the steady pace and overall listening time makes it drag, and you feel fatigued as you reach the halfway point. Rather than an exciting journey, it just feels laborious. Very disappointed. One for the live audience to listen to rather than get them lively.
Song recommendations: ‘The Great Divide’, ‘Dashboard’
“Prizefighter” combines a smoother collaborative approach with the familiarity of Mumford & Sons’ acoustic style. The collaborations include Chris Stapleton, Hozier, Grace Abrams, and Gigi Perez, with The National’s Aaron Dessner producing. Rather than focusing on anthems ready for arenas/stadiums, the band’s attention is on emotional openness.
The record opens with Chris Stapleton featuring on ‘Here’, where Chris and Mumford & Sons frontman Marcus Mumford exchange verses over a country-inspired duet. The following track, called ‘Rubber Band Man’ with Hozier, has the same premise over strong harmonies and delicate acoustic. The song was given to Marcus after Brandi Carlile had a dream about him singing it. It expresses longing and hope.
‘Run Together’ and ’The Banjo Song’ adopt the modern folk of stomp-and-clap that the band were initially known for, but more mature and restrained.
‘Conversation with My Son (Gangsters & Angels)’ sees the band broaden their horizon with honest storytelling, combining broader emotion with personal narrative.
The title track and ‘Begin Again’ explore love, resilience and doubt, which is what the album is all about. These more delicate shifts make Marcus’ earnest lyricism, careful arrangements, and the band’s harmonies rise above.
New layers surface when Gig Perez and Gracie Abrams featured on ‘Icarus’ and ‘Badlands’, respectively. They do appear to overpower Marcus’ vocals during certain sections, which probably was not meant to happen.
Some songs are weakened by the record’s mid-tempo, polished production, like ‘Alleycat’ and ‘I’ll Tell You Everything’, which do not fit the band’s raw emotion. The closer ‘Clover’ is a gentle finish, but still shows the thoughtful mood of the album.
“Prizefighter” may be a safe option by bringing familiarity, but there are seldom anthemic songs, which we associate with their beginnings. It’s a solid record that showcases their prowess with warm acoustic sounds, vulnerability, and thought-provoking lyrics.
The only thing that has changed is that anthemic songs have given way to more mature, subtle ones.
Song recommendations: ‘Rubber Band Man’, ‘Here’, ‘Conversation with My Son (Gangsters & Angels)’
Well, let’s start by mentioning the provocative album cover, where it appears that Sabrina is ready to perform a sex act, and the face-hiding man is pulling her hair. You may have noticed she has done the same pose, sandwiched between two male dancers, on her tour. Also, the record is called “Man’s Best Friend”. Now, everyone knows that phrase relates to dogs, so is Sabrina insinuating women are like dogs? Now, as you know, I reviewed her last album and was left impressed by it, but this one is certainly not for the faint-hearted. Sabrina talks candidly about sex in all its explicit glory, and swears an awful lot.
However, rather than trying to appear controversial, the music has to back that up, but alas, it does not.
Unfortunately for Sabrina, the chart landscape has changed, and once what might have been too much is now seen as tame, which is shocking when we have children as young as four being exposed to the sexually explicit content featured on “Man’s Best Friend”. As I am an adult, I could not give a shit about her saying that, and I found humour within it, but it is not for any child below a certain age to be exposed to.
Additionally, the album is too polished, as evident in ‘Manchild’. I like it, but the production and her wordplay conceal the message that she is trying to convey, so it goes missing. Now, as a songwriter, I am sure Sabrina would want that message to be heard.
Now, I have mentioned the lyricism is both sexually honest, funny, and witty, but that is as far as it goes. Rather than going deeper into the subject behind the songs, Sabrina leaves that up to the listener. Now, this isn’t a bad thing, but on this occasion, it is. She needed to make a connection with the listener about the deeper meaning behind songs like ’Never Getting Laid’, ’Tears’, ‘We Almost Broke Up Again Last Night’, which, as I said, are sexually explicit and contain the occasional fuck word, but there is nothing else.
Unfortunately, Sabrina has sacrificed artistic creativity for commercial outreach. Although the album may have an element of shock value with the lyricism, she unfortunately does not explore other sounds, so you end up with a safe record. On one hand, this could be seen as smart and doesn’t alienate her core fanbase, but on the other hand, the predictability of the subjects and the production on offer takes away the soul of the music. Rather than challenging the listener, she gives them what they want. Well, her core fanbase, at least, but nothing for the casual listener, who will see it as the usual pop album that every female artist is churning out at the moment.
Despite the lack of substance. Sabrina’s vocals are once again incredible, and it’s nice to see her flirt with country music occasionally. She needs to do more of that because she excels in that field. As we all know, despite the glaring flaws I have highlighted, Sabrina will have another successful record under her belt. Yes, it is number one, but it will receive accolades because the commercial market loves an album full of catchy pop songs. That is just how the commercial scene works. It does not matter if the record lacks on a deeper level.
When artists such as Pulp frontman Jarvis Cocker and Lola Young can merge on a deeper level within pop, it is sad to see artists like Sabrina being bound to what pop expects. Sabrina is a brilliant songwriter, and she should have given more behind her barbs to the men behind the album. I believe it is her ex, Barry Keoghan, instead of giving us bitchy lyricism with no deeper meaning. The two artists I mentioned prove that you do not have to be bound to the constraints of pop. Hopefully, Sabrina offers more on her eighth studio record, because she is more than just a pop artist.
Yes, we have catchy choruses and pop-friendly production over a fleeting half-hour listen. Most songs fall well below the three-minute mark. Music that I describe as “TikTok generation”, but there needs to be more to it. Sabrina is capable of doing that if she frees herself from the confines of generic pop.
I would also like to add that you should not let your kids listen to this. They are far too young to be exposed to such sexually explicit content. This is strictly for teenagers and adults.
Song recommendations: ‘We Almost Broke Up Again Last Night’, ‘Manchild’, ’Tears’
I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.
Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.
Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.
The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.
However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.
Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.
The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.
You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.
“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.
Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’
Alex Warren is a YouTuber with personal storytelling on his debut album “You’ll be Alright Kid (Chapter 1). Now, the original came out in September last year, but has been bolstered with further tracks in the updated version, which has seen him soar to the top spot. We hear about life experiences, fears, and the importance of self-acceptance, all set to the backdrop of pop music.
Despite my limited knowledge of his online persona, one thing is sure: he is a talented songwriter who can deeply connect with his audience. His lyrics touch on themes of vulnerability, struggles with fame, past traumas, and the journey to inner peace. His tracks are not just songs; they are a personal journal set to music, offering a glimpse into his troubled soul and aspirations. He speaks to his younger self, assuring him that the pain will fade and his fighting spirit will emerge.
As I mentioned earlier, the record has pop soundscapes, but more alt-pop, and of course, his brilliant songwriting. Synths can be heard along with the acoustic guitar and heartfelt vocals. The lyricism is never overwhelmed by the clean and polished production. Of course, if you’ve listened to any of his songs, you will know they are extremely radio-friendly, but it is his delivery that gives them that real emotion. This is more evident on his confessional tracks.
The album strikes a chord with the listener, delving into the trials of mental health, the experience of being an outcast, and the complexities of teenage life. These themes have been the driving force behind his growing fan base. It’s inspiring to see a YouTuber transform into a serious musician. His sound, at times, bears a resemblance to Myles Smith, making it difficult to distinguish their songs, especially when a new one is released.
There is a song for every listener, which is why he can easily connect with them. I am looking forward to his second record, hoping for a bit more rock.
Song recommendations: ‘Troubled Waters’, ‘Carry You Home’, ‘Burning Down’
If this is a long review, I will be surprised. Morgan Wallen has a great voice and tells some great stories within his songs. Unfortunately, he excessively uses autotune, stripping away the excellence in his strengths.
His earlier material showcased his raw and emotional grit, which is now overshadowed by vocals that sound processed and manufactured. Therefore, “I’m the Problem” sounds generic and sacrifices his distinctive vocals.
I do not understand why an artist with great vocals would want it watered down for that particular piece of software. It’s such a shame because when I came across his early material, I liked it. Before then, I had only heard a handful of songs littered with autotune.
Excessive use spoils the 40-track album, and therefore, any authenticity and emotional connection is lost. I hated listening to the record, and he is mugging his fans off by not letting his natural vocals take centre stage to go with his great storytelling.
I heard a rumour that the label is advising him to use autotune because it is trendy. In my honest opinion, he should show a backbone and tell them he wants to do music that gained him an early fanbase. I saw a quote saying, “All those hating on “I’m the Problem” will be slapping it in the summer.” No, no, I will not. It’s fucking awful. I will never listen to it ever again, and I am pleased by that prospect.
Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.
However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.
It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.
What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.
It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.
Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.
However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.
What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.
Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.
As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.
Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.
It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song. Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.
’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.
As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.
Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’
It’s Christmasss! Hahaha, as Noddy Holder from Slade once bellowed. I find it wholly appropriate to say that because, once again, Michael Ball and Alfie Boe sit atop the album chart, and it always makes for a great Christmas present. The duo first teamed up in 2014, and six records on have been quite a success. This album is also a poignant milestone—it marks a decade of their beautiful collaboration.
I am also surprised to discover that I might just well be the FIRST individual to review this new record. No pressure, then, eh? One of the first tracks I would like to highlight is their cover of Heather Small’s ‘Proud’. The song represents the duo’s pride in their roots, welcoming people from all backgrounds into their world and feeling proud of their families.
‘Homeward Bound’ was chosen because it is about being on the road and longing for home. The great American sonwriter Paul Simon also wrote it in Widnes train station.
‘Welcome Home’ is by a small American band called The Welcome Home, which is from the same place as R.E.M. The song combines a modern hymn with a Southern American style of Coldplay. Boe discovered it while trawling through Spotify.
Seeing ‘Ferry Cross the Mersey’ by Gerry and the Pacemakers on the album was a personal highlight for me. As a fan of Liverpool, and knowing that Boe is also a red, it’s a special connection. Another standout is the timeless ‘Baker Street’ by Gerry Rafferty. The album is a treasure trove of classics like ‘Dirty Old Town’, Take That’s ‘Rule the World’, The Hollies ‘He Ain’t, He’s My Brother’. But my heart belongs to the closing track ‘What’s the Craic? (An Irish Medley)’. This track, a medley of traditional songs from Mother Ireland, including ‘The Irish Rover’, is a perfect ending to a brilliant album. It’s a medley that’s perfect for any celebration or festivity.
Song recommendations: ‘What’s the Craic? (An Irish Medley)’, ‘Dirty Old Town’, ‘Welcome Home’
I cannot, for my life, figure out how people are saying this; it sounds totally different from its predecessor. What I am hearing is more of the same. However, “Tension II” is more enhanced with lyrical content. As you know, Kylie has a knack for writing catchy choruses, executed perfectly in ‘Taboo’. ‘Lights Camera Action’ has a touch of Madonna about it. ‘Diamonds’ features the co-leader of the Scissor Sisters, Jake Shears, and it has that kind of pop music you would associate with Jake.
Returning to an earlier comment, if you disagree with me that the record is not a continuation of the previous album, I will say that there are more songs on this that will hit the charts and become crowd favourites. It also sums up Kylie’s ability to make great pop. You will hear that over the first 11 tracks and then encounter two tracks that appear for god knows what reason. They do not fit with the flow of it. One track with Orville Peck is country/disco/pop but at a plodding tempo, and the other track features fellow Australian Sia, which, to be honest, isn’t that good.
‘Hello’ is also another track that doesn’t have much going on. ‘Good as Gone’ is a good song, but unfortunately, it has quite surprisingly a weak chorus. Despite what some critics have said, the production overall doesn’t alter that much from its predecessor. I am not knocking it, far from it. I enjoyed “Tension” for its disco vibe, and therefore, I enjoyed its successor. ‘Kiss Bang Bang’ sounds exactly like ‘Padam Padam’, but I seemed to enjoy ‘Kiss Bang Bang’ much more.
Song recommendations: ‘Kiss Bang Bang’, ‘Lights Camera Action’, ‘Diamonds’
