Ellie Goulding shot into the mainstream with her 2011 hit ‘Lights’ – a masterclass in pop perfection. It was a stunning tune with mesmerizing melodies, incredible vocals, and a sticky chorus. But then in 2013, she managed to kill it again with her smash hit ‘Burn’. Goulding took the sound on ‘Burn’ and further developed it on the 2015 album Delirium – a really good pop album. That album featured genuine vocal charisma, catchy electronic production, and infectious choruses, making the whole thing a gem. Delirium having the amazing songs ‘Aftertaste’, ‘Something In The Way You Move’, ‘On My Mind’, ‘Codes’, and ‘Lost and Found’ certainly didn’t hurt it, either. The album did have a couple key issues, however. I hoped the excessive length and over-reliance on electronic production and vocal effects would stop on Delirium; however, her newest, double-sided record Brightest Blue doesn’t seem to avoid those issues.
On Brightest Blue, Goulding’s fourth studio album, she opts for a largely stripped back sound, which – while excellent for letting her melodic, distinctive, and powerful voice shine – also makes this album feel occasionally thin and one-dimensional. On top of that, the moments of experimentation and collaboration aren’t totally convincing, either. The production can sometimes feel cluttered on songs like the multifaceted and slow-moving ‘Start’ or the busy, yet melodically lacking ‘How Deep Is Too Deep’. And the four collaborations shoved at the end of this record don’t fit with the album’s otherwise cohesive sound. Two of them are listenable, and the other two are legitimately good, however they feel disjointed from the first 13 songs on the album, and end up feeling kind of excessive.
I don’t want to spend this whole review criticizing Brightest Blue, though, because most of the time, Goulding delivers a more than solid effort. Songs like the catchy and well-written ‘Power’, bombastic and triumphant title track, stunning slow ballad ‘Woman’, and vibrant collaboration with Diplo and Swae Lee ‘Close To Me’, prove what this album can offer at its best.
But while those four songs are good, they don’t compare to the best song on this album, ‘Love I’m Given’. The thundering chorus, distinctive production, and honest lyrics all come together to make a truly excellent track. The lyrical highlight on this song comes when Goulding sings: “And maybe I’m paying for the ones I’ve hurt / But I feel a change in the love I’m given / I’m turning the page on my indecision”. Goulding offers a relatable and thought-provoking side of herself on this track that hasn’t come through on her past albums up until this point.
Despite these solid offerings, Brightest Blue is prone to some duds, too. The clunky ‘Tides’ comes to mind with its glitchy, jarring, and incessant production, forgettable chorus, and unremarkable vocals. Same-sounding cuts like ‘New Heights’, while vocally strong, drag on and ultimately bog this album down. The random interludes ‘Cyan’, ‘Ode To Myself’, and ‘Wine Drunk’ are underwhelming as well, and they act as nothing more than a way to stretch out this record. All of this brings me to the conclusion that by merely trimming the fat, Goulding could have put together quite possibly her best album to date. Unfortunately, though, in its current state, Brightest Blue is an unnecessary 17 tracks long.
Despite those issues, this album stays in the green for the most part. It’s quite enjoyable most of the time, and that’s definitely a relief. In fact, this record has some of Goulding’s best songs to date. ‘Flux’ is genuinely stunning – vocally enthralling and lyrically fascinating, ‘Love I’m Given’ is, as far as I’m concerned, a perfect pop track, and ‘Hate Me’ is a catchy banger with a good feature from the late rapper Juice WRLD.
On balance, Ellie Goulding’s fourth studio album is good. Vocally and lyrically strong songs like ‘Bleach’ and ‘Flux’ prove what Goulding can do at her best; well-executed collaborations like ‘Close To Me’ and ‘Hate Me’ keep listeners engaged after a rough middle portion of the album (even if they don’t fit in with the rest of Brightest Blue sonically); and Goulding makes some of her best tracks to date with songs like ‘Love I’m Given’ and ‘Woman’. While this album could have done with less filler and more sonic variety beyond five collaborations (four of which are stuck at the end of the album), Brightest Blue is worth a listen from all of Goulding’s fans.
Overall Analysis:
Recommended Age – 13+
Rating – 6/10
Favourite Songs – ‘Power’, ‘Love I’m Given’, ‘Woman’, ‘Bleach’, ‘Flux’, ‘Close To Me’, ‘Hate Me’
Least Favourite Songs – ‘Tides’, ‘Cyan’, ‘Ode To Myself’, ‘Wine Drunk’
