2025: My Year In Music

After the bounty of the 2024 pop harvest - Apples, Espressos and Red Wine Supernovas - it was always possible that this year would feel anaemic by comparison. But while the usual suspects have taken a more fallow year, some sumptuous surprises have risen to the occasion - stunning returns to form for Lady Gaga (Mayhem) and Lily Allen (West End Girl) chief amongst them.

The rest of the music scene has had a ball this year too - Oasis and Radiohead both back on tour, Sam Fender finally grabbing a Mercury Prize, and a 'BBC Sound of 2026' dominated by alt-rock and R&B. I've rarely had a harder job narrowing down albums for this article. 

There's no particular theme or unifying idea to this year's list - they run the gamut; from artists I adore giving me more reason to love them, to brand new faces becoming fixtures of the regular rotation. Hope you find something to enjoy, and have a happy new year!

The Clearing (2025) by Wolf Alice

If Blue Weekend was a hint that Wolf Alice are a different beast now, their fourth album is a great big neon sign. An inventive, jaunty and occasionally heartbreaking record, The Clearing has been far and away my favourite thing to listen to this year, and seeing them revel in their new music live last month was the icing on the cake.

The first Wolf Alice records to be built around a piano, The Clearing reveals the quartet's flair for the theatrical. It's the first thing we hear on the album's bombastic lead single 'Bloom Baby Bloom,' and lays the foundation for more intimate moments like 'Safe in the World' and the gorgeous, Broadway-worthy 'Play It Out'.

The band have cited Fleetwood Mac's Rumours as an inspiration for this record, and I can see the connection musically and aesthetically, but they have brought none of the dysfunction of the latter's relationships into the music. This album features thoughtful, unguarded explorations of motherhood, self-identity, societal expectations and female friendship. I wouldn't be surprised if this album has gained Wolf Alice many new female fans; they've certainly retained the admiration of this male one.

My highlights: Bloom Baby Bloom; Just Two Girls; Passenger Seat; The Sofa

The Crux - Deluxe (2025) By Djo

It's hard to tell what's a bigger surprise - Steve from Stranger Things becoming one of Spotify's 200 most streamed artists, or the release of another dozen tracks to an album already jam-packed with bangers. As good as the vanilla album is, I'm not sure it would have made this list. The deluxe version gives the record a more intelligent, well-rounded sound that makes for a sublime 90 minutes of music.

This album is a positive feedback loop: it's so clear from moments like the rhythm-switching 'Purgatory Silverstar' and the rowdy crowd vocal on 'Mr Mountebank,' how much fun everyone is having making every track; and it's this playful energy that makes The Crux such a fun, rewarding listen. But there is a deeper side to the record - the slower, stripped-back laments woven throughout tell the story of a doomed relationship, lending a subtlety and authenticity to the album as a whole.

Perhaps most impressively, this album feels completely genre-less; so broad is the range of instruments used, so deft their combination. The result is that there is no one I wouldn't recommend this to. Are you a fan of Marc Bolan? The Feeling? Will Joseph Cook? Tame Impala? The Cars? Orla Gartland? Thin Lizzy? I don't know who among you wouldn't get a whole bucket of enjoyment from The Crux Deluxe.

My highlights: Purgatory Silverstar; Lonesome Is A State of Mind; Delete Ya; Back On You

A Matter of Time (2025) by Laufey

From piano-sprawling ballads to toe-tapping earworms, this polished third album truly cements Laufey as the intelligent, off-beat ingénue the 2020s needed. As expressive and theatrical as it is intimate, A Matter of Time puts Laufey's skyscraper vocal range, aptitude for orchestration, and melodies Irving Berlin would be proud of, on full display.

Fittingly for its title, A Matter of Time's pacing and tight themes make the album fly by. There's a universality to the album's ballads - not self-pitying laments, but songs of solidarity with women who dare to date in today's world of body-shaming and gendered hypocrisy. And there's always a witty bossa nova about the trials of modern dating waiting just around the corner. Laufey's willingness to expose her own foibles, as well as the subjects of her songs, gives this record a charm that keeps me coming back.

For existing Laufey fans, this record is a luxuriant showcase of her mastery over her trademark jazz-pop. (This is especially evident in 'Cuckoo Ballet', a twinkling entr'acte that takes a whistle-stop tour through all the musical themes of the album). Though she has taken to this genre like an art-deco duck to a gaudy fountain, I wouldn't be at all surprised if Laufey's next album saw her exploring another avenue entirely. And I, along with the many fans of her virtuosic versatility, will be waiting with bated breath.

My highlights: Lover Girl, Snow White, Cuckoo Ballet, Tough Luck

The Fox and the Bird (2023) by OK Goodnight

As a fan of the intricate prog of 20th Century acts like Camel, Yes and Genesis, I'm often sceptical of the 'progressive metal' label - a subgenre that can tire quickly as volume and complexity are prioritised over subtlety and craft. But I couldn't be in safer hands with OK Goodnight; this considered, immersive album is a treat from start to finish - especially through a decent pair of headphones.

Indeed, the most impressive thing about The Fox and the Bird - apart from the spotless production not common to a self-released LP - is its careful control of the gas pedal. The album charts two animals' journey through a drought-stricken land to bring back the rain; beginning in the forest of shifting rhythms and carefully layered keyboards, the sound growing slowly heavier and more guitar-centred as their journey wears on and they meet creatures corrupted by the ravaged land.

This foursome - who formed the band while at Berklee College of Music - are at the top of their game. Casey Lee Williams' vocals, which sometimes feel like an afterthought in modern prog, are stunning throughout. Both she and guest vocalist Elizabeth Hull rise to the record's challenges with aplomb - from the escalating scream of 'The Snake' to the wispy croon of more elegiac numbers. The guitars and drums pick out the most complex riffs and fills with ease, changing key and style at the drop of a Slash-inspired top hat. A stunning concept album that I urge you to listen to in a single sitting.

My highlights: The Fox and the Bird; The Falcon; The Bear; The Bird

Virgin (2025) by Lorde

Lorde has never had to look too far from home for inspiration - whether it's her rocketing to fame from Antipodean obscurity on her debut Pure Heroine, or the death of her childhood dog on Solar Power. Giving voice to her exploration of gender and sexuality, her gift for turning introspection into art sparkles more than ever on this fearless fourth LP.

As someone who didn't really connect with the languid stoner vibe of her last record (she herself described Solar Power as her 'weed album'), it's nice to see Lorde returning to the more stripped-back, angular style of Pure Heroine. From the swelling violins of 'Shapeshifter' to the vulnerable, percussion-led 'Favourite Daughter', every track has both a powerful punch and a glass jaw.

This unsettled, but expertly executed, musical landscape is the perfect backdrop for Virgin's lyrical adventures. Confessing in the opening track that she's "ready to live like I don't have the answers," Lorde spends the rest of the record both revelling in the freedom that gives, while also exploring the relationship between her present self, the people closest to her, and indeed the different people she has been throughout her life. An intricate album that sees Lorde return to her roots musically, but develop lyrically; I look forward to exploring it more in 2026.

My highlights: What Was That, Favourite Daughter, Current Affairs, If She Could See Me Now

Honourable mentions (Normally I'd give a recommended starting point for each of these albums, but honestly just start at the beginning every time)

• Falling Farther In (1995) by October Project
  Recommended by a close friend, this is an album I've come back to often this year. With elements of prog and symphonic rock, but more accessible than either, this is a twisting record full of intelligent songwriting and musical surprises.

• THAT'S SHOWBIZ BABY! (2025) by JADE
  If you're a fan of Rina Sawayama, I can't recommend this album enough - it hits that same sweet spot between sweeping theatrical pop and crunchy electronic R&B. Equally defiant and nostalgic, this album is a clear line in the sand as Jade sets off on what is sure to be a sparkling solo career.

• Fall Back (2025) by Florence Road
  With support gigs for Wolf Alice and Olivia Rodrigo under their belt already, Florence Road are one to watch going into 2026. At once satisfyingly grungy and melodically compelling, this debut mixtape - along with the singles they've released since - portends great things to come.

2024: My Year In Music

As a music listening community, we are firmly in our playlist era. From viral TikTok hits to Spotify Wrapped, we are fed endless lists of our 'favourite' songs to be listened to ad nauseum. Don't get me wrong, I love a good playlist, but I prefer to curate my own - algorithms don't quite get how putting one song next to another influences the overall experience, so the ever-changing "Upbeat Mix" never quite hits the spot, no matter how much I like the songs on it.

I've written before about my belief that the album is the best way to experience music, and the records on this list are good evidence for my argument. This year I've found myself enjoying albums less for the songs themselves and more for the overall listening experience they create. Compiled with care by their artists, each one is marked by its tonal consistency, and thus becomes more than the sum of its parts. I urge you to listen from start to finish.

NB - As much as I love Brat and The Rise and Fall of a Midwest Princess (and did seriously consider them), I decided that their overwhelming popularity reduced the personal aspect that's crucial to this list. 'Hot to Go' and 'Apple' were everyone's year in music. Here's mine.

Mountainhead (2024) by Everything Everything

Though I've always appreciated their intricate, genre-hopping work, I never imagined Everything Everything hitting the high reaches of my Spotify Wrapped. But the electronic rock of Raw Data Feel caught my ear in 2022, and this year they captured my imagination with its dystopian follow-up, Mountainhead.

Set in an uncannily close future where society is 'consumed with the building of a giant mountain,' this record is fiercely contemporary, its lyrics exploring many anxieties fuelled and exacerbated by the social internet. From conspiracy theories to the cult of consumerism, each subject is broached with imagination and wit. "The hideous old savagery comes" sings frontman Jonathan Higgs on the opening track; "And it knows what I want!"

In many ways, this LP is textbook Everything Everything - Higgs' motormouth is in full flow on lead singles 'Cold Reactor' and 'The Mad Stone,' and the intricate arrangements throughout reward repeat listening. But what keeps me coming back to Mountainhead in particular is singability. Each listen leaves me singing a different track, planting this outstanding record in my brain as only a conspiracy theory could. All hail the Enormous High-Born Moth.

My highlights: Wild Guess; Cold Reactor; Dagger's Edge; City Song



What A Devastating Turn of Events (2024) by Rachel Chinouriri

The title of this assured debut LP is apt - it reflects both Chinouriri's sharp sarcastic wit, on full display in the album's energetic first half, and the darkness of the emotions explored further down the track list. This split is a musical one too - the album glides easily between the Britpop Revival of singles like 'The Hills' and gritty laments such as 'My Blood' and 'Cold Call'.

At least half of the album's tracks touch on troubled love, but Chinouriri ensures we never tire of this. Each is unique in both its sound and lyrical approach: From the gentle mourning of a long-distance relationship in 'Robbed' to the flippant rebukes of sub-par boyfriends in 'It Is What It Is' and 'Dumb Bitch Juice', she shows musical adaptability and tonal consistency with confidence and ease.

In recent years, I've been entranced by the smooth neo-soul of Celeste and the electronic-infused R&B of the silver-tongued Raye. In my mind, this record sits in the centre of this Venn diagram - an irresistible, radio-friendly sound spiked with eloquent, often acerbic lyrics. It's this combo that makes Turn of Events a joy to listen through, dark moments and all.

My highlights: The Hills; Never Need Me; Dumb Bitch Juice; My Blood



Audio Vertigo (2024) by Elbow

It’s been 16 years since Elbow released their Mercury-winning LP The Seldom Seen Kid, and though they continue to fill arenas around the UK, I still feel like they haven’t been getting their flowers since then. Save for ‘One Day Like This’ and ‘Grounds for Divorce’, your average Spotify user would struggle to name one of their songs; yet their imaginative, intelligent and accessible art rock has enchanted me more than any other artist in recent years.

Audio Vertigo is no exception. In fact, it is perhaps their most adventurous record in years, combining as it does Guy Garvey’s soaring vocals and elegiac imagery with a fresh, arresting rhythm-heavy sound. From the frenetic brass arrangement of 'Lover's Leap' to the grungy 'Good Blood Mexico City', this feels like the first time Elbow have put drums at the centre of their songwriting.

The result is a heavy-duty rock record that recalls artists as disparate as Genesis and the Vaccines, but it is still indelibly Elbow. Indeed, it feels closer to the rougher sound of their early output than their more recent work, yet imbued with the wisdom they've gained with the years. 'Balu' - a crunchy love letter to the dodgy role models we have as teenagers - is a great place to start.

My highlights: Balu; The Picture; Good Blood Mexico City; From the River

Hit Me Hard and Soft (2024) by Billie Eilish

I won't be the first to say it, but Billie and Finneas might be the most powerful duo in music. On this addictive third LP, it's hard not to hear them challenging each other to push the boundaries of what they've done before - whether it's splitting tracks into two distinct but connected movements, or allowing an inconspicuous synth line to come to the fore, switching up the rhythm and drowning out the lyrics for a climactic moment.

No creative stone is left unturned. Slower numbers like 'Wildflower' and 'The Greatest' might feel like filler tracks in less able hands; but with a well-placed backing vocal here, a deft twiddle of the volume dial there, these quieter moments turn to high points equally deserving of headphones on full blast as the more conspicuous singles.

Lyrically, this record runs the gamut of love and lust - from the pseudo-romantic obsession on 'The Diner' (an echoing, rhythm-heavy piece that harks back to Eilish's earlier work), to the slow burn of a lifelong love on the gorgeous 'Birds of a Feather'. But just as powerful are those moments when the emotions are too much for words, and we are bathed in beautifully-produced sound.

My highlights: Chihiro; The Greatest; L'Amour de ma Vie; Blue



The Secret to Life (2023) by FIZZ

Four UK musicians (and their friends) travel to LA to escape the dreary darkness of Winter. What emerges is a bright, maximalist album that smacks of breaking down creative barriers and revelling in the joy of creating collaboratively. This is The Secret to Life.

Notable among FIZZ's members are YouTubers-turned-solo artists Dodie and Orla Gartland, who lend their considerable songwriting and arranging talents to what might otherwise feel like quite a messy collection of songs. As fun as the record is, I don't think it would have made this list without its more grounded moments, like the gorgeous 'You, Me, Lonely' (clearly a Dodie-led composition) or Gartland's beautiful bridge on 'Hell of a Ride'.

Of course, revelling in the disorder of life is a theme of the album, and comes through in songs like 'Strawberry Jam' and 'Rocket League'. Not to mention all the live takes (complete with studio banter) used in the final mix. Ultimately the album achieves its goal with aplomb. Especially as Winter draws in, it's a comfort to know that I have forty minutes of layered harmonies, infectious melodies and unbridled musical delight to turn to.

My highlights: Close One; I Just Died; You, Me, Lonely; The Grand Finale



Honourable mentions:

• Everybody Needs A Hero (2024) by Orla Gartland
  A true showcase of Gartland's gift for melody, this impressive sophomore album charts the experience of settling into life as a 'real' adult in the current age. I could hardly relate harder. Start with 'Little Chaos'
  
  

• Two Star & the Dream Police (2024) by Mk.gee
  To call Mk.gee's output 'lo-fi' feels unfair - it's so meticulously composed and emotionally rich - but the hypnotic sound and butter-smooth production of this first LP the perfect work soundtrack. Start with 'Are You Looking Up'
  
  

• On Purpose, With Purpose (2024) by Ghetts
  "Brimming with elegant fury" (Observer), this album is my pick from this year's Mercury shortlist. Ever the master of exposing the elephants in our social room, Ghetts is in full irresistible flow on this immersive record. Start at the beginning

5 Chill Albums for your Winter Rotation

Fear not, fans of my annual musical round-up; the big one is on its way. But this year has been so full of excellent new music, I find myself with too many records to review than one post will hold. So, as we head into December, here's a selection of cosy favourites - some old, some new - to warm your ears on a dark and chilly evening.

I've organised these albums vaguely from least- to most-Christmassy, in case you're one of those who refuses to let carols or candy canes cross their lips too soon (though I'm writing this on Advent Sunday, so your time is running out regardless). Enjoy, and let me know what you think!

Shawn (2024) by Shawn Mendes

A male solo artist strips back his production setup to release an introspective, guitar-centred record? Is this Stick Season mark 2? Well, not quite. Not only does the production on Shawn have superstar polish, there's also more scope to the sound; the lyrics might be full of regret and self-reflection, but there are real moments of punch, like the gospel-inspired 'Heavy' and the earworm that is lead single 'Why Why Why'.

Like the season Noah Kahan sings about, this album is stuck between Autumn and Winter. But listen through it in the car this December and you'll see why it made the list. Singable choruses, infectious rhythms and a warm acoustic sound perfect for the long drive home for Christmas.

My highlights: That's the Dream, Heart of Gold, Heavy, The Mountain

The Brightness (2007) by Anaïs Mitchell

With its long-awaited arrival on the West End, 2024 has been the year of Hadestown. But while the musical may well be remembered as Mitchell's finest work, her back catalogue is a deep trove of inventive songwriting. The Brightness is much more intimate than the grand scope of Hadestown, but no less compelling.

Like the album art suggests, this record feels like a diary of observations from a high, lonely window - some concrete and nostalgic, others romantic and mythical. We hop from jazz to country to folk and back again, but binding the LP together is Mitchell's Dylan-esque lyrical storytelling, coupled with a very un-Dylan-esque gift for a soaring melody. If you loved Hadestown, you'll love this too.

My highlights: Your Fonder Heart, Of A Friday Night, Santa Fe Dream, Old Fashioned Hat

Sparrow (2024) by Jeff Talmadge

I usually associate country music with fierce summers, homely wisdom and the golden harvests of rural America. But this plaintive, unassuming folk record makes a great case for Winter country. Though the lyrics can be corny on occasion, Talmadge does have a talent for metaphor, transporting his listeners to the past or imagined world of his bittersweet ballads.

In the wrong hands, an album made mostly of one man and his guitar would get boring fairly quickly. But Talmadge's butterscotch voice and masterful finger picking make this a truly delightful listen; one that I've turned to on many a gloomy workday this year.

My highlights: Hurricane, The Sound of Falling Snow, Maybe Next Year, Top of the Hour

Gufigis (2024) by Goofy Geese

One could argue that this album's bright, often sultry tones lend it more to Summer than any other season, but I would disagree. Perhaps it's the Norwegian twang in the vocals, or the ethereal synth pads layered beneath many of the tracks, but for me it's much more evocative of a cosy log cabin in the snow than a lazy day on the beach.

This record punches above its weight in more ways than one: it's very assured and tonally consistent for a debut LP, and its layered musical landscapes belie that Goofy Geese consist of only two members. (I give particular kudos to the intelligent use of backing vocals, all too rare these days.) A warm inviting fireplace on a dark winter evening, this album really is a gem.

My highlights: Divine, Gooseberry, Sensational Bliss, Station REM

Songs for Christmas (2006) by Sufjan Stevens

This album is actually a box set of five EPs, nicely completing the snowflake-like fractal of this fivefold article. As you might expect this record is replete with carols, each given Stevens' trademark indie-folk treatment, which makes it perfect background music for putting up your tree. But it's also peppered with originals that wouldn't sound out of place on Illinois.

But what really cements this as a Christmas favourite is the way it's produced - unpretentious and deliberately rough around the edges, with imperfectly-layered vocals and plenty of room noise, it really feels like listening to a house full of musical family members sitting around the piano, playing their way through favourites old and new.

My highlights: We're Goin' to the Country!, Come Thou Fount of Every Blessing, Come on! Let's Boogey to the Elf Dance!, Joy to the World, Get Behind Me Santa!

Sam Marshall: Published Article Archive

-- In Print --

Music review | Melody for Tiamat EP by Roshan Sabet | LeftLion April 2024 | Link (page 39)

Music review | Imaginary Friends LP by The Junipers | LeftLion December 2024 | Link (p31)

-- Online --

LeftLion

Gig review | "Blue Violet at Rough Trade" | January 2025 | Link

Book review | The Body in the Library by Graham Caveney | July 2024 | Link

Gig review | "Larkins at Rescue Rooms" | September 2023 | Link

Listicle entry | "7 Book to Screen Adaptations Actually Worth Watching" | February 2023 | Link

Film review | The Feast (2022) | September 2022 | Link

Film review | My Old School (2022) | July 2022 | Link

Listicle entry | "7 of the Best Underdog Stories in Cinema History" | July 2022 | Link

Other

Opinion | "How Football Manager Became an Unlikely E-Sport" | WhyNow, April 2021 | Link

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2023: My Year In Music

As the years go by, I sometimes worry that music can't surprise me anymore, but it always proves me wrong in the end. It's often these moments of unexpected delight that lift an album into contention for my annual list, and this year is no exception.

Whether it's finding intelligent songwriting in unlikely places, or hearing an artist breathing life into an outmoded genre, this year's list is full of albums that dropped my jaw when I least expected it. I hope you'll give them a try, and that they give you the same joyful surprises they've given me.

It's All True (2023) by MALINDA

The biggest surprise of the lot, I stumbled upon this stunning debut album completely by accident. As an online creator famous for her Google Translate parodies of existing songs, I admit that I didn't expect too much when an unsolicited YouTube short from Malinda Kathleen Reese led me to her newly-released record. I listened to the title track open-mouthed, pausing only to eat my words.

From the scintillating 5/4 groove of 'Brooklyn' to the layered harmonies of 'Like It's the End', this gem of an album is bursting with musical intelligence. It's a folk album at heart, filled with gorgeous flowing melodies and flute and violin arrangements that Wildwood Kin would be proud of. Yet many of the tracks would be equally at home on a Broadway stage. Reese's voice - which matches the album's scope and ambition - is in full pomp here, especially on the dark and sultry 'Good Intentions'.

This transcendent clash of folk and musical theatre is present in the lyrics too. 'Between Us and Them' is a beautiful story about those left behind in times of war, whose verses span the whole 20th Century. It's a startlingly affecting folk tale with the subtle cadences of of an emotional West End solo. I've come back to this album many times over 2023, and it keeps on giving.

My highlights: It's All True, Good Intentions, Between Us and Them, Collage

Hold the Girl (2022) by Rina Sawayama (2022)

It's a testament to Rina Sawayama's songwriting that an album exploring such sober and complex subjects is so compelling and entertaining throughout. Guiding us through themes of racial anxiety ('Minor Feelings'), generational trauma ('Send my Love to John') and even her experience of being groomed as a teenager ('Your Age'), Sawayama's powerhouse voice and ingenious melodic choices turn these raw expressions of emotion into the most sincere, intelligent pop music I've heard.

Hold the Girl's pop influences are many and varied. We hear echoes of Lady Gaga and Marina on the more bombastic tracks like 'This Hell', but my favourite moments on this record are when she reaches even further for inspiration. From the sparkling synth leads on 'Holy (Til You Let Me Go)' to the key-change-chorus of 'Catch Me in the Air', Sawayama gives these classic pop tropes her own twist, owing as much to the music of India and Japan as to the heavily-produced pop of the 2000s.

The result is a timeless pop album with an arena-worthy sound. The fine brush of the record's production allows even the most intimate songs room to breathe, crafting them into cathartic anthems promoting forgiveness and self-belief. "They'll tell you to sit up, and shut up, and grow up," Sawayama sings on the title track. "What the hell do they know?"

My highlights: Minor Feelings, Catch Me in the Air, Frankenstein, Phantom

Stick Season (2022) by Noah Kahan

Penned largely during periods of COVID lockdown in 2020 and 2021, Stick Season expertly captures the world of contradictions that we find ourselves in since the pandemic. The New England winter for which the record is named is overwhelming despite its desolation, and each track is a struggle between the stifling comfort of a lonely home and the longing for deeper connection.

This latter sentiment shines through the musical decisions on this album. Kahan has stripped back the heavy rhythms and guitar effects of his previous work in favour of a simpler folk sound that brings his voice to the fore - especially on the plaintive 'Come Over' and 'Strawberry Wine'. But he wears it well, and has lost none of his quiet fierceness - with more upbeat tracks such as 'Northern Attitude' and 'All My Love' recalling Mumford & Sons at their peak.

Stick Season is a fount of well-considered lyrics. 'Homesick', for example, is a wry parody of a love letter to Kahan's hometown. Here he notes the irony that one of its notable natives is an Olympic runner: 'This place is such great motivation / for anyone tryna move the f*** away from hibernation.' But despite its bleak, elegiac tendencies, this is an album of reflection and perseverance - where nostalgia wins out over regret, and Spring will follow Winter in the end.

My highlights: Stick Season, All My Love, Strawberry Wine, Growing Sideways

My 21st Century Blues (2023) by Raye

The last few years have been a whirlwind for Raye, beginning with the fight to part with Polydor for withholding this album's release and culminating in her nomination for prestigious prizes as an independent artist. My pick from this year's Mercury Prize playlist, I can't understand why anyone would delay My 21st Century Blues - but boy was it worth the wait.

Like many albums on this list, Blues deals with some heavy subjects - addiction, anxiety and sexual harrasment to name just a few. But fittingly for the record's backstory, Raye's main target here is hypocrisy - from manipulative partners in 'Oscar Winning Tears' and 'Flip A Switch' to ignorant executives in 'Body Dysmorphia' and 'Environmental Anxiety'. For each of these topics Raye has a confident, silver-tongued response, truly marking her debut as a blues record.

It couldn't be clearer that Raye is a born songwriter. Lyrics, beat and melody feel less like well-combined elements than a single natural flow of infectious R&B. Inspirations mingle effortlessly into something new and irresistible: neither the smooth neo-soul of 'The Thrill Is Gone' nor the languid 'Mary Jane' would feel out of place on a Frank Ocean or Lauryn Hill record. Personal, theatrical and viciously original, I cannot recommend this album enough.

My highlights: Incredibly for a 15-track album, there are no skips. Just listen to the whole thing.

Unreal Unearth (2023) by Hozier

An album inspired by Dante's Inferno is the perfect project for Hozier, whose lyrics so often touch on mythology, politics and the disconnect between Christian doctrine and modern life. The album is a contemporary journey through the circles of Dante's hell: we see the gluttony of rich nations profiting from warfare in the punchy, tongue-twisting single 'Eat Your Young'; and humanity's violence against our own world in 'To Someone from a Warmer Climate (Uiscefhuarithe)'.

Yet despite this lofty, thorny subject matter, Unreal Unearth never feels preachy. Hozier's poetic skill, fully on display here, is in blending the personal with the universal. On the macro level, 'Damage Gets Done' explores how young people are often vilified by older generations for causing problems in society; but that doesn't stop it being a lilting duet about two lovers travelling the world together.

More than anything, this record showcases Hozier's mastery of modern rock music. It combines the grungy folk of his debut that some felt was missing on Wasteland Baby, with the polish and flair of that second album. The headbanging 'Francesca' is perhaps his purest rock song so far, while the soaring 'Who We Are' and 'Abstract (Psychopomp)' cement him in my mind as the finest balladeer of his generation. It's a true masterwork, and my only worry is that he may never top it.

My highlights: Francesca, Eat Your Young, Damage Gets Done, Abstract (Psychopomp)

Honourable mentions:

• The Crowned (2023) by Che Aimee Dorval - Symphonic rock and soul are strange bedfellows, but this album combines them with ease, and to great effect - Dorval's vibrant and powerful voice is a highlight throughout. Start with 'Lionize'
  
  
• Confidence (2023) by The Hoosiers - The closest this duo has come to recreating the whimsical ingenuity of their acclaimed debut album, their latest effort makes for a highly entertaining 35 minutes. Start with 'Hello Sunshine'
  
  
• five seconds flat (2022) by Lizzie McAlpine - Flush with frenetic rhythms, rich melodies and well-crafted metaphors, this immersive, assured sophomore album was very unlucky not to make the top 5. Start at the beginning
  

Every Episode of Cabin Pressure, Ranked

In 1989, Victoria Wood produced a series of six half-hour TV plays, featuring all her classic collaborators - Anne Reid, Celia Imrie and of course Julie Walters to name a few. My dad - the biggest VW fan I know - introduced me to them, and they really are brilliant (here's a link to watch the first one). But almost as impressive is my dad's almost word-for-word recollection every line in every episode.

My equivalent of this is Cabin Pressure, a radio sitcom following the adventures of a tiny charter airline - one jet, two pilots, the CEO and her flight attendant son. For all of his sketch comedy prowess, it's in this show that John Finnemore (also a huge Victoria Wood fan) shows the real subtlety of his craft. I can quote most of the lines before they come, and its delightful familiarity has earned it the status of 'noise that I put on in the background as I fall asleep.'

Before you ask, yes I did just turn 27, and that means it's time to focus on the important things in life. Like putting every episode of my favourite Radio 4 sitcom in order of preference. For reference, each one is named for the destination the characters are flying to in that episode, and alphabetical order roughly matches chronological order.

If you've never listened to Cabin Pressure before, this is my fervent recommendation. (Series 2 is well worth an audible credit, at least.) If you do heed my advice, let me know what you think! And if you're familiar with the show, I'd love to hear what you think of my ranking.

Tier 3

26. Helsinki
25. Rotterdam
24. Abu Dhabi
23. Boston
22. Fitton
21. Johannesburg

At this point, it’s worth saying that there isn’t a single episode of Cabin Pressure that I don’t like. These bottom six episodes are the ones that I don’t instinctively come back to when I want to listen to one episode on its own. Mostly this is because their plots are slightly weaker and less inventive than average, though there are exceptions.

Helsinki, for instance, takes bottom spot because I can’t stand listening to Carolyn’s great nephew Kieran - despite a compelling B plot concerning Douglas’ small-time smuggling business. And while Cabin Pressure’s bottle episodes all showcase Finnemore’s pleasing knack for one-act plays, Fitton is the weakest among them.

Most of series 1 ends up here, but that’s largely because later seasons are an improvement. I'd still urge the keen radio 4 listener to start at the beginning, because early episodes like Abu Dhabi and Boston do an excellent job setting up the main cast and their relationships. It's always a pleasure to hear how the characters grow from colleagues who don’t really like each other to true friends over the course of the series.

Tier 2

20. Edinburgh (Birling Day #1)
19. Wokingham
18. Timbuktu (Birling Day #3)
17. Molokai (Christmas Special)
16. Uskerty
15. Paris (Birling Day #2)
14. Douz
13. Cremona
12. Yverdon-Les-Bains
11. Ottery St Mary

The middle group is made up of episodes that aren’t my favourite, but that I’m always in the mood to listen to. All of the Birling Day episodes are here - a series-long tradition similar to Brooklyn Nine Nine’s Halloween heists -  along with the stand-out episodes from season one.

Excellent guest performances from Helen Baxendale (Cremona) and John Sessions (Douz) keep their respective episodes close to the top of this group, while the revolting posh boy Mr Birling is another larger-than-life jewel in the crown of Geoffrey Whitehead’s BBC comedy roles.

Wokingham, though an excellent episode, loses points for me because I’m not hugely fond of Martin’s relationships with his siblings - though his mum Wendy, played to wholesome perfection by Prunella Scales, is one of my favourite single-episode characters.

By the same token, Yverdon-les-Bains and Ottery St Mary earn the top spots in this group partly because Anthony Head’s recurring character Herc (short for Hercules - after the aircraft, not the hero) is always a welcome addition to the cast.

This middle group represents the real essence of Cabin Pressure. The world’s smallest airline bites off more than it can chew, hijinks ensue, and everything’s wrapped up in time for tea (with the exception of Yverdon-les-Bains, the cliffhanger at the end of series 4). The comedy is bright and original, and even the most fleeting of characters have a depth and warmth that Finnemore always brings to his writing. Each one is sure to brighten any commute, or send this veteran listener to sleep with a smile on his face.

Tier 1

10. Xinzhou
9. Vaduz
8. Zurich (Two-part Finale Special)
7. Newcastle
6. Qikiqtarjuaq
5. St Petersburg
4. Kuala Lumpur
3. Limerick
2. Gdansk
1. Ipswich


And finally, we have the top ten. Episodes that are, in my humble opinion, among the best half hours of comedy Radio 4 has ever seen (or heard, I suppose). This group is mostly made up of episodes from the second and third series, which I think represents the show’s peak - though it was only once I’d put season 2 episodes in each of the top four spaces that I realised which is my favourite.

There’s a strong showing from the final series as well, though. Vaduz introduces us to the delightful Theresa, who disappoints only by turning up so late into the show’s run. Xinzhou is a charmingly silly bottle episode, fitting for the final stand-alone instalment before Yverdon-les-Bains and Zurich tie up all the loose ends. And then there’s the finale itself, a heartfelt ending that is far more than a victory lap, and which truly is worthy of all that came before it.

Found among these episodes are the show’s most memorable moments. Comedic ones, like Arthur’s struggles to improve his stewarding skills in Kuala Lumpur; and more solemn, character-driven moments, especially between pilots Martin and Douglas. Newcastle deserves a special mention here, not only for its excellent guest appearances by Mark Williams and Anna Crilly, but also for that of Tom Goodman-Hill, an emergency understudy for Martin who steps into the role with fidelity and aplomb.

There is so much more I could mention about this show. I haven’t even mentioned its stunning, star-studded central cast, which includes a very non-Sherlock-sounding Benedict Cumberbatch. But to say any more would only ruin your enjoyment. So please go find it for yourself, and I sincerely hope that you - like myself and Arthur - think it’s brilliant.

2022: My Year In Music

The thing about priding yourself in your wide music taste is you have to be able to back it up. This year’s list features several artists and subgenres that I’ve come to appreciate only recently, after long periods of indifference or even resistance. That’s why this year’s list features albums from across the last 20 years, rather than any shortage of good music in 2022.

So, as always, enjoy my Christmas present to you all. A feast of highlights from my 2022 soundtrack, and a post-turkey cheeseboard of new music to bring you into the new year. If you want to join in, let me know which artists and albums you’ve discovered or particularly enjoyed this year in the comments.

Blue Weekend (2021) by Wolf Alice

My brother has been trying to make me a Wolf Alice fan since they released My Love Is Cool in 2015, and not without reason. A female-fronted British rock band with a sense of humour, they should be right up my street. But I found their early work a little too atmospheric for my tastes, and I’ve always  been content to shelve them alongside indie one-hit wonders like The Temper Trap.

But everything changed when Blue Weekend attacked. On this record, they experiment with the noise-rock formula that has served them well so far. Where their first albums’ double whammy of mumbled lyrics behind echoing walls of sound failed to inspire me, the imagination and craft of songs like ‘Delicious Things’ and ‘Feeling Myself’ keep me coming back for more.

This is an album of contradictions. Lyrically, tracks like ‘How Can I Make It OK?’ and ‘The Last Man on Earth’ are mired in fragility and uncertainty, yet here the band feel more at home than ever, and frontwoman Ellie Rowsell finally has room to showcase her true vocal talents. A vein of dry wit runs from track to track, yet their music has never felt more urgent and deliberate. The result? A masterwork of 21st Century rock, which has - my brother will be pleased to know - increased my fondness for Wolf Alice’s earlier work as well.

My Highlights: Delicious Things; Lipstick on the Glass; Smile; How Can I Make it OK?

Punisher (2020) by Phoebe Bridgers

Yes, this album did get an honourable mention on last year’s list. But Punisher has been so central a part of my musical landscape this year that it deserves a review of its own. You might think it’s rich for someone who labelled Wolf Alice’s early work ‘too atmospheric’ to be effusing about Phoebe Bridgers, but bear with me.

It’s a testament to Bridgers’ musical skill that arena rock fans like me find themselves enjoying her lilting, low-energy music. The melodies on Punisher are particularly entrancing (epitomised by tracks such as ‘Kyoto’ and ‘Savior Complex’), as is her ability to create drama and tension with the simplest of flourishes. An audience of thousands singing the title track along with her was a highlight of Glastonbury this year, and as thrilling a live moment as any U2 performance.

Not in genre, instrumentation or vibe is this an emo album. Yet it serves a similar function to me, as I imagine it does for many others. Its lyrics are honest, elegiac poems that explore overwhelming experiences. Yet they are bathed in spine-tinglingly immersive musical arrangements - a cathartic paradox that even My Chemical Romance would be proud of.

My Highlights: Punisher; Savior Complex; Graceland Too, I Know the End

Big TV (2013) by White Lies

Dark, baritone-led, post-punk bands are enjoying something of a golden age at the moment, with established acts like Editors and The National perhaps more popular than they’ve ever been. So this was the perfect time to revisit White Lies - a band I hadn’t listened to since the noughties. A friend of mine introduced me to Big TV not long ago, and it’s been a staple of my work soundtrack ever since.

This album is at once familiar and innovative. The singable hooks and potent electronic landscapes of ‘Mother Tongue’ and ‘There Goes Our Love Again’ recall Depeche Mode at their height, and truly live up to the sonic ambition of the record. But this is an addition to, rather than a replacement for, White Lies’ signature sound. The driving, bass-led arrangements and creative drum lines cement Big TV as a rock album - a true space-age rock album.

But despite the cosmic aspirations of the music, the lyrics could not be more earthbound. ‘Getting Even’ and ‘Tricky to Love’ tell of unreliable relationships, while the title track explores what it means to be at the mercy of a materialist society. This, combined with the new-age-inspired music, gives Big TV the feel of a dystopian novel - an album about the present, wrapped in the high-octane trappings of the future.

My Highlights: Big TV; First Time Caller; Mother Tongue; Be Your Man

Sometimes I Might Be Introvert (2021) by Little Simz

Little Simz’ breakthrough album Grey Area was my favourite among the 2019 Mercury Prize nominees. Her vicious, unflinching approach to her craft meant that even as a relative minnow in the British hip-hop scene, she could hold her own with the best. Her next effort is more considered and introspective, but no less compelling.

Lyrically, Simbi is just as sharp as ever. From the outset, she glides effortlessly from armed conflict to class war to the moral battles within ourselves. Opening track ‘Introvert’ sets out her stall clearly, emphasising how inextricable the personal and political are. And this continues right up until the final track, where her personal and professional struggles are woven carefully with nods to other black women who have had to fight for their place in the spotlight.

It is musically where this album surprises and delights the most. Little Simz joins fellow Mercury nominees Kojey Radical and Ghetts in flawlessly blending seductive hip hop with other genres, from the jaunty R&B of ‘I love You, I Hate You’ to the African influences and ska beat of ‘Fear no man.’ It’s a diverse, mature album from an artist at the top of her game, and diverting from start to finish.

My Highlights: Two Worlds Apart; I See You; How Did You Get Here; Miss Understood

A Fever You Can’t Sweat Out (2005) by Panic! At the Disco

One of my musical highlights of the year has been Hayley Williams' BBC Sounds show Everything Is Emo. Equal parts 'Intro to Emo' class and tour of the Paramore frontwoman's varied music taste, it's a pleasing combo of familiar tunes and new music to explore. And while it hasn't found me many new favourites, it has helped me dive further into artists I thought I already knew pretty well.

One such band is Panic! At the Disco, whose early work I knew very little of. Content with singles like 'I Write Sins Not Tragedies' and 'Nine in the Afternoon', I went on to enjoy the opulent, polished pop-punk of their later albums. But little did I know what I was missing. If Vices and Virtues is the high-end music hall of their florid oeuvre, then A Fever You Can’t Sweat Out is the seedy but pretentious speakeasy down the road. And I mean that as the highest of compliments.

Acerbic lyrics fly past at breakneck speed, processing death, jealousy and criticism of their work with eloquent disdain. The punk aesthetic of the instrumentation belies the musical prowess that shows itself in brief a-cappella arrangements and well-chosen electronic elements. Panic! have always been the divas of the emo scene, and this pulsing cabaret of breathless drama and raw emotions is a perfect manifesto.

My Highlights: The only difference between Martyrdom and Suicide is Press Coverage; Nails for Breakfast, Tacks for Snacks; But It’s Better if You Do; I Write Sins Not Tragedies

Honourable mentions: 

• Of Brine and Angels’ Beaks (2021) by Azure - Voted ‘best unsigned band of 2021’ by readers of Prog magazine, Azure are all the evidence one needs that Prog Rock is alive and well in the UK. Adventure and scope, humour and tenderness - this epic sophomore album has it all, and I can’t wait to see what they have in store. Start with ‘The Jellyfish’
• Raw Data Feel (2022) by Everything Everything - Beating out Taylor Swift, Harry Styles and Rina Sawayama for my pop album of the year, Raw Data Feel is as enjoyable as it is prescient. Its lyrics (co-written by a custom AI programme) find connection and hope within our demanding, tech-focused world, while addictive and nuanced melodies hold even the shortest attention span right until the end. Start with ‘My Computer’
  
• Birds with Broken Wings (2015) by Ben Caplan - A Johnny Cash for the 21st Century, Ben Caplan’s captivating voice guides us through existential heights and lonely nights with equal dexterity. One of few artists truly deserving of the term ‘troubadour,’ his gift for metaphor can spin even the most mundane threads of thought to gold. Start at the beginning

5 Concept Albums You Might Not Have Heard Yet

Like any other self-respecting rock fan, I'm a firm believer in the importance of the album. A curated collection of nine to fifteen songs is surely a better way to explore a period of an artists' creative journey than a series of disjointed singles strategically released for maximum radio time. The excessively manufactured sound of chart music in my teen years grated on me, not only because I wasn't a fan of the music, but because of the industry's apparent focus on grabbing attention rather than intriguing or delighting.

At the other end of the spectrum is the concept album - a work so intent on intriguing that it devotes a full-length record to telling a brand new story or exploring a single idea in great depth. So, never shy to review and share my favourite music with you, I've compiled five concept albums that I think make the best use of that precious 40-60 minutes. I hope you'll listen along with me.

Clockwork Angels by Rush (2012)

Whether or not the idea originated there, classic rock is the spiritual home of the concept album. Narrative lyrics, an abundance of sci-fi fans and a penchant for long, multi-episode tracks make Prog Rock the perfect genre for records that explore a single story or setting. Rush's 21st Century output is far from their most popular era, but if you're a fan of their more famous concept album - 1976's 2112 - then their nineteenth and final record is well worth a listen.

The dystopia of Clockwork Angels is more steampunk than the space-age 2112, a move reflected in the heavy guitars and synth-shy mix of the more recent record. But familiar hallmarks of Rush prevail through the heavier sound. Clean guitars and soaring melodies represent the hopeful, ambitious voices rebelling against an indifferent, mechanical world that favours chuntering bass lines and walls of distorted guitar. The result is a sound at once radio friendly and deeply atmospheric, a combination especially evident on the album's leading singles - 'Caravan,' 'BU2B' and 'Headlong Flight.'

In every sense, this album is an epic. Sweeping strings on "Halo Effect" and "The Wreckers" make even the more intimate moments feel larger than life. And the lyrics tell a cohesive story, each song accompanied by a short passage in the liner notes of physical releases. While the world in which the album is set may be fantastical, the themes explored could not be more relevant - we are warned not to accept the world as it's presented, to be careful what we believe, and to and to respond to cruelty and misfortune with love rather than violence. A stunning, focused album that makes a fitting final gift to the world from one of its finest rock acts.

My highlights: Caravan, BU2B, The Wreckers, The Garden

Trench by Twenty One Pilots (2018)

Of the albums on this list, Trench definitely has the most comprehensive world to explore. From cryptic online clues before the album's release to the deep lore explored in the lyrics, Twenty One Pilots work hard to immerse listeners in the dystopian city that the record's characters are trying to escape.

On Blurryface - the band's breakthrough album and predecessor to this one - the sonic landscape is deliberately raw and frenetic, as doubts and stresses attack from all sides. The music of Trench, on the other hand, is maturely crafted and cleanly produced. Pilots' famous genre hopping is still present, but the focal point of the album's narrative blends them all into a cohesive sound. The echoing piano, the drum machines, the reggae guitars all march to the purposeful beat of the banditos' attempted escape.

Like Blurryface, this album explores themes of friendship, loyalty and the drive to overcome one's insecurities; but exploring them through this allegorical setting emphasises the universality of these ideas. The banditos are running through the valley of Trench from the prison city of Dema, a reference to the Zoroastrian Tower of Silence, where corpses are placed to be eaten by vultures. But they are not merely saving themselves from their own vultures, they are a supportive collective. "Though I'm far from home," goes the final track, 'Leave the City'. "In Trench I'm not alone." The journey to self-actualisation is fraught with peril, but we can make it together.

My highlights: Jumpsuit, Neon Gravestones, The Hype, Nico and the Niners

Broadsword and the Beast by Jethro Tull (1982)

I was introduced to this album by my dad, and no car journey with him is quite complete without it. Though reviewers weren't kind when the album was released, it's a particular favourite of ours, and we're in good company - Genesis guitarist Steve Hackett puts it at number 9 in his list of favourite Prog Rock albums.

Despite its mixed reception, frontman and flautist Ian Anderson believed this album to house some of the band's best music, and I have to agree. The melodies are compelling and full of imagination, and the 80s synth leads blend remarkably well with Jethro Tull's trademark folky sound. Broadsword is full of moments that I listen out for every time - from the close harmonies in verse 4 of 'Clasp' and the reversed clap sound on 'Fallen on Hard Times.'

So what makes it a concept album? There's no dystopian narrative here, though for folk-rock giants like Tull, a fantasy-adjacent nautical aesthetic is much more apt. It's perfect for exploring the album's themes, too. Despite the lack of story, the ten songs are connected by a desire for the romance of a life of adventure, expressed through maritime imagery. The title tracks 'Beastie' and 'Broadsword' - one upbeat, the other quiet and brooding - both ask for the strength to face our fears head on. "I see a dark sail on the horizon," sings Anderson on the latter track, but he will not back down. "Bring me my broadsword and clear understanding. Bring me my cross of gold as a talisman." Fan-folking-tastic.

My highlights: Clasp, Flying Colours, Slow Marching Band, Seal Driver

Electra Heart by Marina and the Diamonds (2012)

 

From Ziggy Stardust to Sasha Fierce, character-based concept albums have been around quite as long as narrative or thematic ones, and Marina Diamandis' Electra Heart is an excellent example. Tongue firmly in cheek, she presents a brilliant pastiche of a materialistic wannabe popstar, each song like an entry in her diary that we cannot help but sing along to.

Marina has never been one for lyrical subtlety, but her persona's voice matches this directness perfectly. Through Electra's twisted desires, we see the hypocrisy of gender politics from a disturbingly innocent perspective. "I want to be a virgin pure / a 21st Century whore," she sings on 'Teen Idle'. "I want blood, guts and angel cake / I'm gonna puke it anyway." Electra is capricious, vindictive and vulnerable by turns. But who can blame her in a world that constantly betrays her sense of self?

The music is as much part of the pastiche as the lyrics. As James Christopher Monger says in his AllMusic review, "Diamandis is trying to expose the artifice of big-box pop music by using its own voice." Electra reveals her darkest secrets, and often contemplates her death on this album, yet the music is designed to keep us listening. Catchy rhythmic hooks and layered, Katy Perry-esque mixes will leave you wondering why choruses exploring mental illness and emotional manipulation are stuck inside your head. It's rare that a pop album with this much emotional depth is so accessible, and Electra Heart is a gift that gives more with every listen. 

My highlights: Primadonna, The State of Dreaming, Hypocrates, How to Be a Heartbreaker

Psychodrama by Dave (2019)

Using a concept album to explore an artist's own life is not a new idea, but Dave's first full-length record is a veritable coming-of-age story in musical form. Starting with an exploration of his childhood environment ('Black', 'Streatham'), Psychodrama uses the framing device of a therapy session to explore what it means to be a young person of colour in 21st Century London. With the concise eloquence that we have come to expect from the Brit-Hop scene, Dave contemplates the incarceration of his brother ('Drama'), his own role in consumer culture ('Screwface Capital') and his transition from a working class London boy to an international music star.

Dave's use of double and triple meanings laced with contemporary pop culture references give the lyrics depth without slowing down a fast-paced, indelibly contemporary album. "Only Ls I'm hiding in my closet have a V after," he quips on 'Environment' - some people may be out to watch him fail ('L' meaning loss), but he always bounces back with a win (a 'v'). L and V together stand for Luis Vuitton, perhaps a reference to his rich lifestyle, or to his authenticity and lack of real secrets. From the deft but unassuming lyricism to the varied musical styles, it's no surprise that a debut album filled with so much musical nous earned Dave the Mercury Prize in 2019.

But for me, it's the collaborations where this album really shines - Dave understands the power of a second voice to deepen meaning. Ruelle's ethereal contribution to 'Lesley' solidifies a female presence in this story of an abusive relationship and lends a spine-tingling end to an already haunting track. Dave's back and forth with J Hus on 'Disaster' contrasts brilliantly with the alienating voice of the therapist and his forced optimism. The album even ends with the voice of Dave's brother, calling from a prison phone, truly driving home the reality that this stunning debut is all about.

My highlights: Black, Location, Lesley, Drama

Adventures in Authorship #2: A Favourable Failure

By the end of the first post in this series, I was high on enthusiasm for writing a novel that I'm truly passionate about. This second instalment is about my first big bump in the road towards that goal.

After years of wanting to take part in National Novel Writing Month (NaNoWriMo), I had finally found myself in possession of the perfect combo: plenty of free time in November and an idea for a story that I was actually excited to write.

With a good amount of planning under my belt, the time was ripe to dive in and begin my novel writing journey. But it was my first NaNoWriMo, and I was not prepared for the challenge that lay before me.

NaNoWriMo

A quick refresher for anyone unfamiliar: NaNoWriMo is an annual challenge in which aspiring authors all over the world attempt to stop procrastinating and get on with writing that novel.

The goal is to write 50,000 words in November, which averages out to 1666 words per day. Even in a month where you have a lot of free time, that is a huge commitment, so it's no surprise that I didn't manage it. Having come out the other side of this intense month, I'm amazed anyone ever completes the challenge at all.

I came in at just under 23,000 words, a figure that would have disappointed pre-November Sam. If you'd told me back then that I wouldn't even manage half the word count, I might have sacked the whole thing off. Writing a novel is difficult enough without the prospect of missing your very first deadline by failing to reach an arbitrary word count.

However, lots of people fail NaNoWriMo. And I'm far from the first person to write a blog post about the positives I've taken from failing this gruelling challenge. But the whole point of failure is to learn, and there are lessons that I'll take with me as I continue writing. So here's what failing NaNoWriMo did for me as a writer...

Quantity Before Quality

Though I hate to admit it to myself, I'm a huge perfectionist. I find it hard to call something complete until I know it's as good as I can make it. While this makes me a good critic for my own work, it can really slow me down when it comes to creative projects. And it's definitely not compatible with a time-bound challenge like NaNoWriMo.

It's not that I can't write to a deadline. But it's one thing to come close to a submission date by editing a short story as I write; quite another thing to pore over every phrase of an entire novel. If I was going to come close to 50,000 words, I had to change tack. I had to force myself to do what lecturers and online articles had been imploring me to do for years - I had to grit my teeth and move on even if I wasn't 100% satisfied with what I'd written.

Though it was painful at first to abandon sentences that I felt needed more work, I wouldn't have made the progress I did make without it. But there was another benefit to this approach that I hadn't expected: leaving edits until later has actually improved the quality of my editing.

My preference for editing on the go stems from an aversion to the idea of multiple drafts - why would I completely rewrite something when I could edit what I'm already writing? But it's funny just how much more clarity I feel when giving myself a few days or weeks between writing and editing. Though this might sound like a no-brainer, it's a new discovery for me and I'm going to stick to it.

Living the Literature

While the shift from "edit as you go" to "just keep writing" was a pretty significant one for me, the biggest change in mindset was actually to do with time management.

As I've mentioned on this blog before, I like to structure my creative time. This helps me to make space in my schedule to further my projects, but sometimes I'm just shooting myself in the foot. I don't like sitting down to work on something unless I know I have a big chunk of time to do so.

Once again, NaNoWriMo put paid to my way of thinking. You don't write 50,000 words in a month by restricting your time - you need to have the world of your novel constantly in mind. Waiting 5 minutes at the tram stop? Note down what will happen to your protagonist next. Waiting for a jacket potato to bake? See if you can finish that difficult chapter.

If that sounds unhealthy, I don't mean it to. Of course I allowed myself to switch off when needed. But relegating creativity to long, uninterrupted sessions isn't always helpful. What NaNoWriMo taught me was to be ready for inspiration all the time, and always be ready to make progress when possible. Lots of my best ideas come outside of my writing sessions, and committing them to paper sooner rather than later has definitely paid off in recent months.

A Kick Up the Backside

Even in the optimistic days of early November, there was a small voice in the back of my head that told me I would never hit 50,000 words. What kept me going during the doubt was that, regardless of my total at the end, I would have a significant chunk of my novel written. A chunk that I had previously refrained from getting down onto the page.

It sounds obvious, but once December arrived, it felt so cool to have a big long document full of... my book! Concepts and characters that had lived for so long in my head were now real and telling the story that will eventually become my novel. Though I hadn't even reached half of NaNoWriMo's word count, the feeling of reading through the first chapters of my story was enough to make this technical failure feel like a roaring success.

I always knew writing a novel would be a huge task, but it's only now that I'm facing the enormity of the legwork involved. Even at points where I know what's going to happen, each word still has to be chosen and added to the seemingly endless ocean of sentences.

That's even before considering the huge time commitment needed to write a novel. My free time fluctuates a lot, so it's difficult to build the momentum that was so easy to come by in November.

My journey through the novel-writing woods is far from over. But NaNoWriMo gave me the space and motivation to step into this forest, and has given me the skills I need to stick to the path even when times are hard.

My authorship journey continues, and progress is slow but steady. Thanks for reading, and I'll see you next time.

2021: My Year In Music

It's safe to say that music is the glue that holds my life together. As a hopeless internet native, I struggle to turn off the noise at any point - whether it's an audiobook keeping me company during the weekly shop, or the weekly 4-hour D&D stream that gets me through my less interesting work days.

Of course, there are times when I crave a change from the monologue of myriad creators and streamers chattering in my ear. But it's not in silence where I find the calm in my self-created storm (though it probably should be). It's in music that I can truly centre myself.

This year has been as much of a minefield as the last, if not more so. As a glimmer of hope emerges at the end of this temporal tunnel, the highs have been higher, but the disappointments have cut deeper. In these emotionally taxing days, music is less of an escape and more catharsis - a way of confronting and processing the most complex parts of our own minds and of society as a whole.

And boy has the music been good this year. Below you'll find my five favourite albums - in no particular order - that I discovered this year (though most of them were released in 2021 anyway). I hope you'll take a listen, and appreciate their careful handling of often dark subject matter; and the raw, cathartic beauty that makes music so important in times like this.

Not Your Muse (2021) by Celeste

Celeste is one of those artists who I knew about without knowing that I knew about her. Her 2020 single 'Give A Little Love' was the first original to be commissioned for the famous John Lewis Christmas ad, and her powerful voice sings the chorus of 'Stop this Flame' every time Sky Sports Football goes to an ad break. Both songs feature on Not Your Muse, but they barely scratch the surface of this hugely impressive debut LP.

With its songs about co-dependency, one-sided love and self-image, this record explores the relationships between a person and what other people expect of them. Nowhere is this clearer than on the title track. Celeste doesn't want her output to be shaped by the ideas or agendas of others; "I'll hold my pose," she sings, "but I'm not your muse." The result is an album brimming with personality and confidence.

In a shortlist flush with excellent soul and R&B music, Celeste was my pick for this year's Mercury Prize. What made her stand out is her incredible gift for melody. Her voice soars gracefully over the frenetic arrangements of  'Tell Me Something I Don't Know' and 'The Promise', and finds rest on the more assured 'Love Is Back' and 'Some Goodbyes Come with Hellos.' This careful attention to her song's tunes makes this album a joy to listen to from start to finish.

My Highlights: Strange, Tonight Tonight, Tell Me Something I Don't Know, Love Is Back 

Inside: The Songs (2021) by Bo Burnham

Cast your mind back - if you can bear it - to the middle of lockdown. The one where every third Facebook post reminded you that quarantine is an opportunity in disguise, after all didn't Shakespeare write King Lear when he was in plague lockdown? This mix of existential dread and pressure to behave as normal was a unique feeling. And nothing captures it better than Bo Burnham's Inside.

Both musically and comedically, this is some of Burnham's best work. Not only are the melodies infectious and the production stellar, he's also matured a lot lyrically. Even the pure comedy songs of the special's first half have a deeper meaning to them. My favourite is 'White Woman's Instagram', which achieves the perfect balance of poking gentle fun at middle-class white culture, while also sincerely reminding us that the internet can be a place for genuine connection and self-expression.

While the special itself is quite an intense watch (albeit one I highly recommend), the soundtrack works as a slightly rose-tinted version that you can consume without it consuming you. Like many of us during lockdown, Burnham has taken the time to explore complex themes like white privilege ('Comedy'), political correctness ('Problematic') and mental health ('Shit'). He doesn't have any answers, but since the internet has ruined nuanced conversation for everyone, it's refreshing to see one of the world's biggest comics tackle these topics with real maturity and care.

My Highlights: White Woman's Instagram, Look Who's Inside Again, Welcome to the Internet, That Funny Feeling

Daddy's Home (2021) by St. Vincent

Throughout her career as St. Vincent, Annie Clark has gained a deserved reputation for genre hopping. Her influences vary from Kate Bush and King Crimson to Talking Heads and Tool, and her musical ability is unquestionable. But it's perhaps the breadth of her exploration that has stopped me from settling down as a St. Vincent fan. Well, that is until she dropped Daddy's Home earlier this year.

The sheer volume of musical heritage on this album is incredible - though it will come as no surprise to die hard St Vincent fans. From the Sheena Easton tribute on 'My Baby Wants a Baby' to the Floyd-esque psychedelic soundscapes on 'Live in the Dream,' Daddy's Home paints an immersive image of the early 70s, complete with misogyny, grey morality and Clark's own dry wit.

But what's most impressive about Daddy's Home is Clark's commitment to the cause. Not content with simply referencing the 70s with lyrics or music, she transports us wholly to a seedy lounge bar in New York. And just like Bowie and Patti Smith before her, St. Vincent is transformed into her album persona, ready to guide us through this sultry, addictive record.

My Highlights: Live In the Dream, The Melting of the Sun, Down, Somebody Like Me

Come from Away (2017) by the Original Broadway Cast of Come from Away

It's a story you couldn't make up: a tiny Canadian town sees its population more than double when 38 planes are diverted to its airport in the hours following 9/11. But it's also the most human story imaginable - one of courage, cooperation and compassion in the face of unprecedented odds. The 
perfect musical to discover this year of all years.

As Alison Croggon observes in her Guardian review, the weirdest thing about Come from Away is its lack of a hero. No main character to build the narrative around. But actually that's the best decision Irene Sankoff and David Hein could have made. Without a single protagonist, the small town of Gander - with its thousands of new visitors - becomes a character of its own; a symbol of kindness without borders that is the true MVP of this real-life event.

A good story does not a great musical make. There was still plenty that writers had to get right. And boy did they smash it out of the park. With its quirky characters, uplifting musical numbers, and heart-rending moments of empathy, Come from Away is a small story told to perfection with respect, hope and warmth.

My Highlights: Prayer, Screech In, Me and the Sky, Stop the World

Screen Violence (2021) by CHVRCHES

Chvrches' fourth studio album is a thoughtful study on exploitation - from our desensitization to violence on TV (alluded to in the record's title), to the hypocrisy of the male gaze. These themes come to a head on 'Final Girl', the centrepiece of the album. "In the final scene / there's a final girl / and you know she should be screaming," sings frontwoman Lauren Mayberry, while also wondering if she should have "changed my accent / tried to make myself more attractive." Pop culture has long painted women as helpless objects of desire, with no control over their own story. On this tour-de-force of a record, Chvrches are adamantly stating their intent to flip those outdated narratives.

On Screen Violence, the clean synths we associate with Chvrches are cut with something coarser, a darker edge that suits the often dark subject matter. Real piano and guitar sounds come to the fore at key moments on 'California' and 'How Not to Drown', creating a sound that is at once raw and expertly crafted.

Screen Violence was heralded by many critics as a return to form for the Glasgow trio. And, though I was actually a big fan of their third effort Love Is Dead, I sort of know what they mean. Considering the band's musical evolution since their first album, and Mayberry's tireless advocacy for women's rights, Screen Violence feels like a culmination of all Chvrches' previous work; a creative destination that is not to be missed.

My highlights: He Said She Said, California, Final Girl, Lullabies

Honourable mentions:

• Back In Love City by The Vaccines (2021) - Perhaps this year's best rock album. From the thumping 'Headphones Baby' to the plaintive 'El Paso', Back In Love City shows off the Vaccines' considerable creativity and proves that a great concept album doesn't have to be high-minded.
  
  
• Sky Full of Holes by Fountains of Wayne (2011) - A well-written, radio friendly record that punches well above its weight. Endearing highlights like 'Richie and Ruben' and 'A Road Song' show that this band have much more to offer than 'Stacy's Mom' might make you believe.
   
• Punisher by Phoebe Bridgers (2020) - Lo-fi can be a frustrating genre, with disaffected lyrics sung over increasingly similar-sounding music. This album is the exception that proves the rule. Each song is a wistful poem set to restless, flowing music that gets better with every listen.