Ellie Goulding, Brightest Blue | Album Review 💿

Following a five-year hiatus, Grammy-nominated British pop artist Ellie Goulding makes a compelling comeback with Brightest Blue.  

Ellie Goulding is the full package – and I dare anybody to say otherwise.  What makes the British pop artist so awesome is her distinct voice, hit records (“Lights”, “Anything Could Happen”, and “Love Me Like You Do”), also, the fact she’s truly beautiful.  Sadly, we had to wait five years for a new album from this beacon of light.  Thankfully, Brightest Blue was totally worth the wait finding Goulding absolutely killing it.

💿 1: Brightest Blue

“Start” 

✓ “Start” is a fitting way to start Brightest Blue.  Ellie Goulding has had multiple bad encounters with somebody or something bad.  While the lyrics suggest it’s a person that might be holding back any progress the singer makes, she clarifies that it’s not necessarily/specifically a person.  The best lyrics occur on the chorus, specifically the line, “I could call aa truce for anyone but you.” “Start” is a vibe, and one that’s not necessarily straightforward, which is part of the charm.  American musician serpentwithfeet also helps to bring a different flavor to “Start,” helping to positively shake things up in the process. Lengthy, “Start” successfully builds interest in what’s to come.

On follow-up ✓ “Power”, Goulding is never forced to over sing; her gorgeous tone is potent all by itself.  Stellar production work further ignites the fire, courtesy Jamie Scott and Jonny Coffer.  The sound is pop to the core, with plenty of sleek electronic touches in play. Focusing on theme and songwriting, where does the ‘power’ touted in the title come into play? Well, according to Goulding, her lover isn’t “really down for love,” they “Just want the power.” Basically, Ellie wants pure, true love, but she’s going to have to break things off if the course of the relationship doesn’t change. Quite relatable, the chorus only sheds more light.  Once more, Ellie has delivered a bop.

“How Deep is Too Deep” 

Relationship issues continue to plague Goulding on ✓ “How Deep is Too Deep.” It’s a classic case where things are unhealthy and toxic. “You hold me so tight, say it’s getting too deep for you, but / How deep s too deep,” she asks on the chorus.  Maybe the bridge says exactly what we’re all thinking about Ellie’s situation: “Oh, I could do better, baby, let’s be honest /… I can find something deeper baby.” “Cyan,” an interlude, prefaces a record that has the argument as the crowning achievement on Brightest Blue, ✓ “Love I’m Given.”

i wrote love i'm given when i was living in new york. i've always had this sense of wanting to be forgiven but I didn't know what for #BrightestBlue #EG4 https://t.co/sBH4SADyRV

— Ellie Goulding (@elliegoulding) July 17, 2020

“And maybe I’m praying for the things I’ve done / And maybe I’m paying for the ones I’ve hurt / But I feel a change in the love I’m given.” Describing “Love I’m Given” to Apple Music, Ellie Goulding asserts, “I think I had this moment of redemption. Or trying to rid yourself of sin. Vindication. Absolution.” It seems there’s no coincidence that the record features incredibly soulful vocals and gospel sensibilities, particularly towards the end.  While calling “Love I’m Given” a R&B/soul record may be an overstatement, it definitely ‘digs in’ more, particularly towards the end.  Triumphant by all means.

“New Heights” 

Goulding maintains a level of soulfulness on “New Heights,” a smooth ballad where she celebrates independence.  If the first few songs from Brightest Blue sounded as if she were imprisoned in a sketchy situation, “New Heights” marks her liberation.  She’s at a point that she can love without being in love with someone, particularly if the situation isn’t ideal.  She pays ode to herself on the brief interlude, fittingly titled “Ode to Myself,” which perfectly leads into the piano-led ballad, ✓ “Woman.” Apparently originally intended as a piano ballad, Goulding made it fit the mold of the rest of the album without overreaching with the production. Essentially, “Woman” is an empowering moment, continuing her liberation and maturation as a woman.

Admittedly, “Tides” isn’t my favorite moment from Brightest Blue.  That said, it’s necessary, arriving in timely fashion. Why? Well, the ballads were threatening to make the album feel too slow and perhaps boring… “Tides” picks up the pace and provides groove.  It’s not a bad song but perhaps a candidate for a song that may receive fewer spins while revisiting the album.  It’s followed by another interlude, the 48-second-long “Wine Drunk.”

“Bleach”

Three solid songs closeout the Brightest Blue portion of the album.  On “Bleach,” Ellie Goulding asks, “What would it take it bleach you? / What would it take to undo?” She seems to be revisiting the past yet wishes to move forward but simply can’t erase it.  On “Flux,” she’s also revisits the past, though realizes she shouldn’t relive it regarding her previous relationship(s). “I should be counting my blessings / Staying safe in confusion,” she sings on the pre-chorus, admitting on the chorus, “I’m still in love with the idea of loving you / It’s a state of flux, but it’s not enough.” She’s definitely right about that.

Goulding concludes the main leg with ✓ “Brightest Blue,” the album’s title track. This is fitting because it truly is a bright track that showcases more optimism and positivity than either “Bleach” or “Flux.”  Yes, both previous cuts seek to move forward, but also have one foot in the door of a much more pessimistic past. “Brightest Blue” is the direction where things should’ve gone earlier but thankfully, she arrives there, nonetheless.

💿 2: EG.0

“Worry About Me” 

“Overture” kicks off EG.0 with some dramatic, orchestral musical cues. The record fittingly prefaces the urban-pop bop ✓ “Worry About Me”, a single where Goulding sounds particularly potent. “Worry About Me” is set in a minor key, and filled with attitude, nuance, and ample personality.  The production (Ilya) is incredibly sleek, particularly the keyboards/synths, and the hip-hop beat. Goulding is clearly the star, but featured guest blackbear brings a welcome contrast, with his distinct pop-rap/sung vocals.  The songwriting is memorable, well-rounded, and enjoyable, even as “Worry About Me” isn’t characterized by its depth.

Follow up “Slow Grenade” is none too shabby. It features modern, sleek production (Joe Kearns and OZGO) suiting Goulding perfectly. She continues to sound incredible, giving listeners a catchy chorus while reflecting on love. Given the fact that “Slow Grenade” dabbles in love, Lauv is a fitting collaborator, performing solo lines and duetting with Goulding on the second verse. From the time he enters until the end, they duet in some capacity with solid results – no major complaints or glaring cons.

“Close to Me”  

On “Close to Me”, Ellie brings Diplo and the ever mellow Swae Lee along for the ride. “Close to Me” benefits from its soundness overall.  The production, a pro is collaboration between Diplo and a team: Ilya, Alvaro, and Will Grands (Bas van Daalen) – LIT 🔥.  Also ‘lit’ are the vocals with Goulding being automatic while Lee brings his own brand of uniqueness on the second verse.  As smooth and suave as he can be, he’s a bit edgier in this setting: “I had to cut my bitch off, she bein’ stubborn / I make it known I fuck with you, not undercover.” Damn! The chorus, of course, serves as the centerpiece. 

“Hate Me” features no shortage of songwriters (eight) – typical of modern pop.

“Hate me, hate me, still tryna replace me
Chase me, chase me, tell me how you hate me
Erase me, ‘rase me, wish you never dated me
Lies, tell me lies, baby, tell me how you hate me.”

Goulding performs the corny, though catchy, and self-explanatory chorus abruptly at the beginning. She goes on to perform the first verse, pre-chorus, and the chorus once more.  Notably, on the pre-chorus, she references the idea of “It’s a thin line between all the love and hate…” Juice WRLD performs the second verse in all his emo-rap sensibilities, showcasing a nice flow that perfectly suits the record. Honestly, that’s about the size of it.  “Hate Me” lacks depth, but it’s effective.  

“Let’s take the move that we found / And give it back to ourselves / Sometimes these things don’t work out / Sometimes there’ll be no one else.” On the enthusiastic and relatable “Sixteen”, (which doesn’t appear on all editions of Brightest Blue) Goulding reminisces back to days of innocent, pure love. The record has its fair share of pros including an infectious groove and warm, major-key production led by the bass line, keyboard, and synths.  Adding to the goodness are those one-of-a-kind vocals. Goulding superbly sells her desire for her man to “focus on me / Like we were sixteen.” One final selling point? How about that up-beat, innocent, love-centric chorus?

Final Thoughts 

All in all, Ellie Goulding ‘brings the heat’ on her fourth studio album.  Both the main portion of Brightest Blue, and the B-sides, EG.0 are enjoyable and worthwhile.  Perhaps Goulding does nothing earth shattering throughout the course of the album, but there’s plenty to love and spin over and over. The biggest disappointment to me is the fact that more people – at least in the United States – slept on this album.  If you are in need of a top-notch pop album in your life, make sure you check out Brightest Blue.  You won’t be disappointed.

✓ Gems: “Start,” “Power,” “How Deep is Too Deep,” “Love I’m Given,” “Woman,” “Brightest Blue” & “Worry About Me”

Ellie Goulding • Brightest Blue • Interscope • Release: 7.17.20

Photo Credit: Interscope