RnB

Week 15: RAYE- This Music May Contain Hope.

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I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

9/10

Week 32: Reneé Rapp- Bite Me

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Track-by-track review:

Leave Me Alone:

If I weren’t doing a track-by-track review, I would give an introduction to Reneé Rapp (I did plan to do a brief, but unfortunately, brief wasn’t all that brief.), but what you will discover through this is that it embodies her whole devil may care attitude, and how she lives life how she pleases. She will only do whatever makes her happy, rather than appease people. This is what appeals to her fans, and people like me, who have only just discovered her. As the review goes on, you will see that she is outspoken and isn’t afraid to use expletives or throw in the occasional comedic remark. Such as this track, which has lyrics like “Manager called said ‘where’s the single?”. She also expresses she wants to have fun over business matters. She also references The Sex Life of College Girls, a show that I think is on ITV2 at an early hour on a Saturday—a show where she coincidentally appeared. The reference calls out fans of the show, who are less than impressed that she left it to pursue music.

Mad:

This acts as the second single, which is a pop anthem about having an argument with her lover, and wanting to make amends, but the lover is hurt and won’t accept the apology. She tries everything to make amends, but her lover refuses to lose face. She goes on to attack her lover by accusing them of fucking with her head, and therefore has had enough, and lost the energy to fight. All of that aforementioned takes place in the chorus. The song itself resonates with the listener because we have all been through this at some point in our love lives. It is a classic pop track.

Why is She Still Here?:

This emotional piano ballad was the third and final single to be released off “BITE ME”. This blues-infused R&B track fits in with her vocal range. The focus is on her begging her significant other to let her or another woman go, because both are being played. You can hear this frustration in her vocal delivery and by the lyricism used. She also finds it hard to let her lover go, even though she feels she is being treated as a bit on the side.

Sometimes:

This is basically the second part of ‘Why is She Still Here?’, but instead of showing her frustration, Reneé displays more resignation as expressed in the chorus. She pleads with her lover to let her go. A highlight of the track is her lyricism and falsetto.

Kiss it Kiss it:

From the emotional piano ballad to pure pop energy. Do not let your kids listen to her as she gets very sexually intimate. I imagine it is about her current girlfriend, Towa Bird, whom I believe was her on-screen fling in the television show mentioned back on ‘Leave Me Alone’. It’s about the journey from despair to the ecstasy of being madly in love. There are some great comedic lines in this, such as “She asked how I like my breakfast?/ I told, ‘hot on the bedroom floor’. There is also one about making love and almost getting pregnant, even though that is impossible with two women. The lyricism, as you can see, is full of comedy, but also addresses the passion and sexuality between them. Regarding the soundscape, it contains a catchy drumbeat coupled with a bouncy bassline.

Good Girl:

The title explains it all. She talks about how she used to be a good girl. She says she has a safe lifestyle in favour of drugs, and living in the fast lane. She expresses that her new life is disappointing her father. This 80s synth pop track is the second part of ‘Leave Me Alone’.

I Can’t Have You Around Me Anymore:

This acoustic guitar ballad explores the theme of falling in love with a friend, but questioning whether these feelings are genuine, despite her having a girlfriend, which is affecting her relationship. Her vocal delivery is apt for the reflective nature of the track. As the track unfolds, she tells the friend she has feelings for to end all forms of contact, because she cannot deal with having her around while she is in a relationship, and is scared of losing both women.

Shy:

I have failed to mention it so far, but I do sense a Ke$ha vibe with her both spiritually and vocally, and this song would belong in Ke$ha’s early 2000s era. You notice the ongoing theme of the album is based around her girlfriend. This song expresses that she is behaving oddly for her because, instead of being smitten, she is used to being quite volatile. For once, she feels shy as the title suggests, and therefore wants Towa to snap her out of it. However, these emotions are all contradicted in the bridge, where she embraces being shy.

At Least I’m Hot:

You may think the title suggests a moment of egotism, but no. She is talking about herself ironically. The track is quite dark because it talks about being depressed and overwhelmed by everything surrounding her.

I Think I Like You Better When You’re Gone:

The title is very misleading because as you start to listen, you can hear the R&B ballad is full of emotion about her ex-girlfriend, and recalling when they were together. In the first verse, she expresses that she is happy when she isn’t around and hopes she never returns because she has made peace with the relationship approaching its end. The second has more reflective lyrics, but it is her guilt during her delivery that adds to the authenticity of the story.

That’s so Funny:

One thing I appreciate about her tracks is her knack for sarcasm. Not many Americans understand irony, but she certainly does. She aims at an unnamed individual who has spoken ill of her, putting her in a negative light. She also references the television series in which she was in the second verse.

You’d Like that Wouldn’t You:

She doesn’t hold back on the final track as this action-packed song contains sarcasm, her delightful vocal range, and a lush soundscape. As you can imagine, Reneé brings attitude to the table, taking aim at another ex-girlfriend and saying she wants her back, because she cannot find anyone better. I thought Olivia Rodrigo was blunt and honest, but Reneé Rapp takes it to a whole other level.

Song reccomendations: ‘You’d Like That Wouldn’t You’, ‘Leave Me Alone, ‘Good Girl’

9/10

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 35: Sabrina Carpenter- Short n Sweet

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I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.

I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:

Taste:

We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.

Please Please Please:

It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.

Good Graces:

I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.

Sharpest Tool:

Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.

Coincidence:

It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.

Bed Chem:

Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.

Espresso:

Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?

Dumb & Poetic:

Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.

Slim Pickins:

Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.

Juno:

I was unaware , this song is a tribute to the 2007 film ‘Juno ‘,  that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.

Lie to Girls:

The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.

Don’t Smile:

The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.

Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’

8/10

Week 11: Ariana Grande- Eternal Sunshine

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Let’s dive straight into the track-by-track review:

intro (end of the world):

This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.

bye:

From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”

don’t wanna break up again:

Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.

Saturn Returns Interlude:

Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.

eternal sunshine:

We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.

supernatural:

Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.

true story:

She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.

the boy is mine:

Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.

yes, and? :

This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.

we can’t be friends (wait for your love):

As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.

i wish i hated you:

There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him. 

imperfect for you:

This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.

ordinary things (ft Nonna):

As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on. 

Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’

8/10

Week 8: P!nk- Trustfall

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After the 2017 album, “Beautiful Trauma”, this one would always have to raise its standards. P!nk has not had much success with her critics, who have mostly given mixed reviews, saying that her records lack the Punk we were introduced to in the early 2000s. That happened quite rapidly, as the first time we heard her, she was doing RnB, which attracted a fair few Garage producers to remix her songs. She has also been criticised for having children over ten years ago, being told that would ruin her career; P!nk believes that having children has made her more tender as an individual and changed her music style somewhat. As some people within her circle told her, it certainly didn’t end her career. She said before she had children, she felt alone in an industry where you spend most of your time in your presence out with the studio and touring.

“Beautiful Trauma” was given a challenging ride by her critics for being too conscious, the production, and her all-round maturity. Her previous album, “Hurts 2B Human”, which wasn’t as good as “Beautiful Trauma, was also panned by the critics because she spoke about her life as a mother and lacked a new perspective regarding the subject matters and the wall of the sound. They felt it was a typical P!nk record back in 2019.

“Trustfall” removes the chance of the critics jumping all over it because it is pretty experimental, ranging from ballads to dance. The record is quite reflective of her life so far. The opener is a track called ‘When I Get There’, which is a piano ballad, and her reflecting on her late father. It is my personal favourite on the album. Yes, it may be melancholic, but the tender notes and her delicate vocals make this a beautifully tragic song. A term I often use to describe my favourite Smiths song, ‘There is a Light That Never Goes Out’. P!nk released a teaser for the record called ‘Never Gonna Not Dance Again’, which takes us into the dance with an element of pop. The critics favour it, but for me, it shows a fun side to her. It’s Katy Perry-esque. The title track sounds like a club track that will fill the floor and get a pull-up. I recently heard Noel Gallagher talking about, as you get older within music, you have to try not to do “dialling it in”. He means it gets more difficult to do the kind of music you could do when you had nothing. P!nk hasn’t “dialled it in”, and you can tell she cared about this album and was dedicated to ensuring it was more than good enough to release.

‘Feel Something’ is another highlight of the album where she questions whether she was ever ready to be married and start a family and how all your demons don’t just disappear once you do. Another of my favourites features the Swedish sister duo First Aid Kit. The track is called ‘Kids in Love’. A country ballad where P!nk does the first verse, followed by Klara in the second, with sister Johanna providing backing vocals on the chorus. The song is quite reflective as she looks back on the innocence of youth and the naïvety of falling in love. There are a few more emotional moments from P!nk with ‘Our Song’ and the ill-tempered ‘Hate Me’. The latter is just a “fuck you. I don’t care what you think. This is who I am” track. Bringing it back to the days of ‘So What’.

I also enjoyed ‘Long Way to Go’ featuring the Lumineers. Quite an unusual song for the country band, as it is entirely out of their comfort zone, but the combination works. I have seen this record getting panned (No surprise there.), but I am in utter disagreement with the critics, because the album is incredibly diverse, and not your generic P!nk record. There is a lot of maturity on display, and she has proven she isn’t just the polar opposite of her rivals in the early 2000s. She leaves you pondering about life and issues based on reality.

Song recommendations: ‘When I Get There’, ‘Kids in Love’,  ‘Long Way to Go’

8/10

Week 5: Sam Smith- Gloria

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As everyone who reads my reviews knows, I reviewed Sam’s last two albums, which were less than complimentary. Straight up, brutally honest about how they sounded the same as his debut. He left his comfort zone twice on the last record, and every song sounded like the previous. However, this time, I am pleased to inform you he has left his comfort zone when tackling new genres. He has, on the main, stuck with his usual falsetto vocals.

Sam has also changed his perspective on life since becoming happy with who he is, which is evident in the album. Yes, once again, it is conscious, but there are uplifting lyrics this time. He also has a few collaborations on the album with Ed Sheeran and Koffee, among others.

The record starts with ‘Love Me More’ delving into Sam’s love for Gospel. The lyrics themselves are pretty dark. I will now go into why the album has shown Sam a bit more diverse sound this time. First, I already mentioned the opener ‘Love Me More’. He dives into RnB with ‘Perfect’ and then into the disco-infused ‘Perfect, where he discovers how he has learnt to accept himself as whole.

The one that did take me by surprise was ‘Unholy’. It has a Grime quality to it, and to be honest, the song’s theme fits the music. Sam foretells about a family man who indulges in unprotected sex.

There are plenty of more RnB tracks or his usual piano ballads. This isn’t the best for me, but the disco floor filler ‘I’m Not Here to Make Friends’ is a standout on the record, and you can go right when you get Calvin Harris to produce the track. The great Nile Rodgers would be proud of this one.

My favourite, however, is something I wasn’t expecting as I’m not too fond of extremely short tracks. The title track is fucking excellent; Sam is accompanied by a choir, as each lyric elevates and reverberates around the church the song is performed in. The album closes with ‘Who We Love’, a soft and gentle duet with Ed Sheehan where they talk about giving you into your heart because it knows who we love.

Sam surprised me this time. I was impressed he experimented with other genres, and it made the listen fly by rather than dragging on.

Song recommendations: ‘Gloria’, ‘I’m Not Here to Make Friends’, ‘Unholy’

7/10

Week 48: Stromzy- This is What I Mean

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I have enjoyed his previous two, but this one turned out to be disappointing. Unfortunately, Stormzy has discovered auto-tune, which makes a potentially good album utterly shit. I am not putting sugar on anyone’s cornflakes. This album was rather enjoyable to listen to until THAT kicked in. There was one particular song I was getting into (I believe it was the title track.) featuring the multi-instrumentalist/singer/beatboxer Jacob Collier, with his phenomenal harmonising. Still, it was unfortunately ruined by a rapper using auto-tune. Jacob features quite heavily on this record, but most songs could be better. I only enjoyed two songs because they were auto-tune-free. ‘Please’ is spoken word over keys and a gospel choir, and ‘Need You’ is spoken word over Afrobeat. This is the first time I have heard Stormzy perform spoken word, and it was refreshing to hear. 

Song recommendations: ‘Please’. ‘Need You’

4/10

Week 47: Dermot Kennedy- Sonder

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I was incredibly pleased when I saw Derm get to number one. I have known him for a while now. He first followed me on twitter back in 2018 (I think.), and I have been pursuing the Dubliner’s career since. I was also proud to see him on the autumn edition of Later…with Jools Holland last month, where he performed ‘Dreamer’.

You’re probably looking at the title and wondering, “What the fuck is ‘sonder’?” I found while researching that it means “the realisation that each random passerby is living a life as vivid and complex as your own, ” which fits in with how Derm writes. He doesn’t appear to write from personal experience per sé but instead tells a fable that reflects the lives of his listeners, which is quite evident in most of his songs. Also, a lot of rappers can write from that perspective (I believe it is the third person perspective, but right now, I am writing while listening to Groove Armada, so even though I can still write this review, I am having brain fog on the exact term I am looking for.) Another songwriter who has a knack for writing like that is Kelly Jones of Stereophonics.

The album contains love, loss and optimism. Another thing I like about Derm is his vocal delivery. You believe what he is saying when he sings with an aching heart. I also like the way he can sing while his voice breaks. What do I mean by that “voice breaks”? Well, for instance, on ‘Dreamer’, which is quite melancholic, you can hear the tears as he talks about the subject. He isn’t crying, but the way he delivers it is like the individual breaking down and crying.

Although the record may be titled “Sonder”, there is no title track. The nearest to it would be ‘Something to Someone’, which, as you can tell, is about breaking up in a relationship. I suggest going to his YouTube and listening to the album through that route because videos accompany the songs, and you get a true sense of what the songs are about. There are some compelling videos on there.

Like most artists who have had a record out last year or so, this was done while in quarantine, and Derm perfects how everyone was feeling on ‘Better Days’. The leading single talks of having optimism that we will get out of this mess and look ahead to better days.

The album is what you expect it to be—polished production-wise and vocally. Derm is a superstar back home in Mother Ireland and spent the last year doing outdoor events. He will play London’s O2 Arena for the “Sonder” tour next spring. He is about to become a star all over Europe and the world. Oh, I almost forgot, the opener ‘Any love’ has a touch of Bon Iver to it, which is an exciting start, and as I like Bon Iver, I liked what Derm did.

Song recommendations: ‘Something to Someone’, ‘Better Days’, ‘Dreamer’

9/10

Week 38: Blackpink- Born Pink

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When I checked to see who was number one, I had no idea who the girl band from the Korean Republic was. Funnily enough, they came up in an Answer Smash on Richard Osman’s House of Games that same week. That was my first introduction to them (Safe to say, I didn’t get the answer because I had no idea who they were).

So, who are Blackpink? They are a K-pop girl band from the Korean Republic and the female equivalent of the highly popular BTS. The band consists of three members: Jennie, Lisa and Jisoo. They sing in both Korean and English. In 2020, they released their debut titled “The Album”. A usual title, but in all honesty, I wasn’t aware of it. According to the research I have done, the problem with their debut is that it became too overloaded with K-pop with no versatility.

So maybe it was a blessing for me to review their sophomore record because, from the first listen, it made my ears prick up. I must confess, when I heard they were a K-pop girl band, I wasn’t looking forward to listening, but it took me by surprise. The album has plenty of versatility from K-pop, RnB, rock, hip-hop, and the occasional piano ballad.

The album opens with ‘Pink Venom’, the teaser released several weeks before the record. The song appears to be heavily inspired by Rihanna and the late Notorious BIG. So, you already have RnB and hip-hop combined on the first track, complete with the band’s name chant.

The second track, ‘Shut Down,’ has a gunshot sound effect over violins and a heavy bassline. The standout performer in the track is Jisoo rapping, which appears out of nowhere.

You will learn that many songs are about female empowerment, and just like the opener, ‘Typa Girl’ follows the same path. You may think the song is sweet and innocent as it begins with a child-like synth, but no. It abruptly goes into a heavy piano, and that is then followed by silence. When the song returns, the members swap verses expressing empowerment. For example, one of the lyrics is ‘I bring money to the table, not your dinner’. A cutting snipe at the misogynists all over a trap beat—a song bombastic in production and lyrically. 

So, the first part has plenty of attitude, so what about after the halfway point? We begin with ‘Hard to Love’, a piano ballad that takes a surprise turn and switches up into a disco beat. Well, more disco funk. The guitar part was Nile Rodgers-esque. ‘The Happiest Girl’ is probably one of their only melancholic songs on the album describing the need to be happy during tough times. ‘Tally’ brings the attitude over rock instrumentals, where the band stresses the importance of being yourself and standing out from the norm.

What else can I say about the record? Well, they have learnt from their debut (I still haven’t heard it. Just going by the research.). “Born Pink” is full of versatility, which always keeps the listener interested. I found the production and the band all on point. A sublime listen, and not what I expected. I couldn’t give a fuck if they are K-pop; this was brilliant.

Song recommendations: ‘Tally’, ‘Hard to Love’, ‘Shut Down’

8/10

NB: I appear to have omitted Rosé from the review. Sorry about that. There are four members.