Lianne La Havas has released a superb self-titled project consisting of 10 tracks that provide candid lyrical dialogues on ever recurring themes of love and contemplation. Akin to contemporary Ego Ella May, the expression pushes against all barriers. A superb musician in her own right, Lianne is able to utilise classical and electric guitar in a highly sophisticated manner whilst singing, a skill worthy of reverence.

Musically, the project is professionally natural, allowing us to be at once consoled and challenged. It knows itself yet never forces the musical narrative, intentionally moving at its own tempo which is an often criminally un-discussed element of music. Indeed, Mozart regarded it as one of the form’s most important aspects, aligning with the pulsing of our bodies minds and senses that when naturally utilized can provide great subconscious resonance.

The finger-picked unusual chords do not rely on traditional progression forms, making an informed and unusual distinction between verse and choruses whilst the lyrics provide exaltation from the emotional drudgery many have become so used to. Finally, the dynamic use of voice is refreshing, moving from a whisper to a cry in effortless glissando with sincere ad-libbed phrases and personalised inflections.

There was a significant period of time between each full-length release from this artist. 2012s ‘Is Your Love Big Enough?’ and 2015s ‘Blood’ were released 3 years apart respectively, stressing the importance of producing work of quality rather than simply riding the wave of the prior releases’ success. The ability to express and speak on love alongside the permeating power of music is not a position to be taken lightly. It is an artist's role to be judged and one must be compelled by an invitation to higher service, passing the mic to the uninitiated or using the mic when you don’t necessarily have anything to say is counterproductive to music’s true intention.