Each song on Glasshouse has its own distinct aesthetic; unlike her previous albums, 2012’s Devotion and 2014’s Tough Love, there are no songs here that could be confused for each other, none that seem an afterthought carved from the greater mood of the album.
An album that suffers from feeling just too assured.
Glasshouse isn’t exactly groundbreaking. It could also do with being about half its mighty 17-track length.
Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.
Tracks such as Hearts, the gently pulsating Your Domino and Last of the True Believers (featuring the Blue Nile’s Paul Buchanan) all perfectly showcase Ware’s crystalline vocals--you just wish she’d step out of her comfort zone more often.
When you hear it, you can tell that these songs were bursting to get out of Ware; that she’s delivered them with such nuance and intelligence lends considerable credence to the idea that her more devoted followers have proposed ever since Devotion. She is, by a distance, Britain’s most underrated pop star.
With affectionate stability at home, perhaps she'll be emboldened to take greater risks as an artist, marking the polished, pleasurable Glasshouse not as a culminating point, but the start of a bold, new direction.
Though Glasshouse has its fair share of misfires and middling material, it’s never for a lack of vision. Even when songs veer towards the pristine inoffensiveness of a Sam Smith, Ware’s affable personality is largely present.
While all of this could feel a bit scattershot in lesser hands, there’s a writerly clarity to her compositions that ties them all together into a cohesive statement of marital and maternal devotion.
Each song on Glasshouse has its own distinct aesthetic; unlike her previous albums, 2012’s Devotion and 2014’s Tough Love, there are no songs here that could be confused for each other, none that seem an afterthought carved from the greater mood of the album.
An album that suffers from feeling just too assured.
Glasshouse isn’t exactly groundbreaking. It could also do with being about half its mighty 17-track length.
Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.
Tracks such as Hearts, the gently pulsating Your Domino and Last of the True Believers (featuring the Blue Nile’s Paul Buchanan) all perfectly showcase Ware’s crystalline vocals--you just wish she’d step out of her comfort zone more often.
When you hear it, you can tell that these songs were bursting to get out of Ware; that she’s delivered them with such nuance and intelligence lends considerable credence to the idea that her more devoted followers have proposed ever since Devotion. She is, by a distance, Britain’s most underrated pop star.
With affectionate stability at home, perhaps she'll be emboldened to take greater risks as an artist, marking the polished, pleasurable Glasshouse not as a culminating point, but the start of a bold, new direction.
Though Glasshouse has its fair share of misfires and middling material, it’s never for a lack of vision. Even when songs veer towards the pristine inoffensiveness of a Sam Smith, Ware’s affable personality is largely present.
While all of this could feel a bit scattershot in lesser hands, there’s a writerly clarity to her compositions that ties them all together into a cohesive statement of marital and maternal devotion.
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