I could keep staring at you all day, my apple of the eye. Yet you suddenly moved to a different venue. No inspiration sa office tuloy. I can't confess because I'm really discreet, but we keep our eyes crossed and locked for a split second. I melted. Jian, my corpo-crush.
I could keep staring at you all day, my apple of the eye. Yet you suddenly moved to a different venue. Wala na inspiration sa office. I can't confess because I'm really discreet but we keep our eyes crossing and locking for split second. I melted. jian, my corpo-crush. Z
Shatter the Standards awards Leigh-Anne’s debut album 4/5 stars, urging people to “invest in Leigh-Anne’s stock now”:
“Warner said they lacked the budget. Leigh-Anne Pinnock left, signed with Virgin Music Group, and assembled the debut herself, nearly four years after Little Mix’s final Confetti Tour date and a full season after both JADE and Perrie put their solo records into the world.
‘Revival’ curses out someone she can identify by name.
‘Fake-ass humans never ever act real Never ever give a shit about how you feel One minute it’s a promise, then they break the deal.’
Given the Warner split, the addressee is obvious.
Two tracks later, ‘Free’ swings at the same grievance. Sure, her singing, ‘Nothing’s gonna keep me in the dark, I’ma reach the stars,’ could belong to any empowerment playlist on earth, but given the context of what she’s been through, she deserves it all.
When patois enters, Leigh-Anne’s entire body shifts. Her phrasing loosens, her syllables ride slightly behind the beat rather than pinning themselves to it, and the writing quits reaching for pop-universal language. ‘Dead and Gone’ buries a former self over a reggae pulse. The bridge code-switches without flagging it: ‘For who God bless, no one can ever curse.’
On ‘Tight Up Skirt,’ she opens in Spanish-language ad-libs and the riddim takes over, ‘whine me, whine me, take me, take me’ rolling off her like yard choreography.
‘Most Wanted,’ produced by Rvssian with Jamaican artist Valiant guesting, thrives because Valiant’s grain collides with hers. In this register, she sounds rooted.
Every other song on this album is aimed at somebody. The flirt tracks talk to a lover or a dance floor. ‘Heaven’ is the only track where Leigh-Anne isn’t performing for an audience at all.
‘Tryna find time in my schedule Need a quick break, yeah, I gotta breathe My baby went and got me this ring Do it for my babies, they my everything.’
After fourteen tracks of grinding and spiraling and showing off, a woman saying her kids make her feel invincible and meaning it plainly is the most disarming thing here. It is someone confirming, to herself, in a room that might as well be empty, that the ordinary facts of her life are sufficient.
On her first record without Little Mix, Leigh-Anne proves she can write about dread and domesticity with real specificity. Invest in Leigh-Anne’s stock now.”