Words by:
Dan Bull
Follow @DanBull7609
With her 2011 debut On A Mission, Katy B successfully fused elements of UK house, garage and dance, creating songs that sounded as good on the radio as they did in the club. With an NME award in the bag, and Arctic Monkeys covering her (their version of Katy On A Mission is still a genius ‘Live Lounge’ moment), her place as a credible artist, and one to watch, was cemented. After an education at the BRITs school and a degree in popular music, the research had definitely been put in.
And so, onto the next part of her mission; the consignment many before her have referred to as ‘the difficult second album’. Is Little Red a worthy contender to the Mercury Award nominated debut? It’s not that easy to answer. Next Thing opens the album with the instant house ‘atmosphere’ listeners may be expecting; a fuller, more evolved track that sounds like the natural next step, whilst the upbeat anthems continue with the Guy Chambers co-penned 5AM. (Not forgetting the Jessie Ware-featuring Aaliyah, a Jolene for the 21st century, or perhaps a Brandy & Monica…?) Whilst Chambers is more famous for his Robbie Williams ballads, the writer’s multitude of experience alongside Katy B’s years of education are a match made in heaven.
It’s even more evident on current single Crying For No Reason – a synth-ballad that builds as it goes, showcasing Katy’s vocal range alongside sound effects not too far distant from Timberlake’s Mirrors. Despite the fact that a chilled-out dance beat kicks in after the first chorus, the melody is undeniable ballad-territory in the same vein as fellow BRIT school pupil Adele. It’s arguably the highlight of the album, due in part to the fact that it’s not a song you might have expected to hear on a Katy B album. It’s not the only time the melody is more love-song than club-song, however, which is part of the album’s downfall.
All My Lovin’ begins a row of three tracks which almost bring the album to a halt. The authenticity and minimal beats of Katy On A Mission and Lights On are forgotten for poorer and more forgettable attempts at Crying For No Reason, which aren’t half as strong melodically or lyrically. Sapphire Blue, however, is a more successful slowed-down moment, creating a funky-house vibe that would sound more at a home at a swish underground bar than a sweaty club, while closer Slow (written with Ellie Gouling & Adele collaborator Fraser T Smith) combines heavy piano chords with one of the strongest vocals.
There are more moments to dance, with the less-is-more I Like You; a robotic dance anthem with a tried-and-tested balance of beats and sing a long lyrics, that transforms into twice the song following a brilliantly ‘bonkers’ breakdown; (many of the more upbeat tracks offer superb middle-8s). The Sampha-featuring Play is another one to watch, where Sampha’s work with SBTRKT has clearly left him with a dubstep-timed heartbeat.
It’s not that Katy shouldn’t be exploring different styles and tempos; when they’re strong they’re Greatest Hits certainties. But when your ‘Deluxe Edition’ bonus tracks sound like this, there’s no way they should play second fiddle. Blue Eyes (produced by MJ Cole) sounds like the Artful Dodger-starring garage explosion all over again (or perhaps more ‘Sunship-remix), whilst Hot Like Fire‘s eruption of bass and electric ticks, alongside Wicked Love (a collaboration with Al Shuckburhg – co-writer and producer of Jay-Z’s Empire State Of Mind) are clear highlights. It’s a crime that people who buy the standard edition are going to miss these tracks!
With that in mind, it’s not entirely a failed mission, but one with poor organisation, communication and, perhaps, a lack of focus.
Little Red is set for release on 3rd February; hit the iTunes link below to preorder:
