(4/5) It probably isn’t a coincidence that Leona Lewis’s second album, Echo, is being released in the middle of the latest series of
The X-Factor, it being the platform that launched her career. She is also the last third of the X-Factor ‘diva troika’ to release an album, coming as it does off the heels of last year’s winner Alexandra Burke and her debut
Overcome and the highly anticipated solo album from one of the show’s judges – Cheryl Cole’s
3 Words. One could be forgiven for thinking that Lewis’s album launch might be a little anticlimatic after the success of both Burke and Cole, having both secured number one singles and albums. Having said that, the former X-Factor winner has one thing neither possess – the Voice. For all Burke’s vocal blasting and Cheryl’s wheeze, neither of them get close to the splendour that is Lewis’s supple voice – a powerful instrument which she controls beautifully. Couple that with an extremely photogenic face and a sanguine, pleasant personality, she has become one of the UK’s brightest stars having achieved the holy grail of pop – success in America. The signs for Echo certainly look good.
Her sophomore album is a far more sturdy, cohesive affair than the ballad-heavy and somewhat patchy Spirit (2007). The power-ballads remain, but unlike Spirit there is more a more modern, organic, uptempo feel to Echo that will help break the stereotype of Lewis as a fragile, wailing balladeer. Things kick off brilliantly with the OneRepublic penned Happy – a song perhaps uncomfortably close sonically to her biggest hit Bleeding Love (also by Ryan Tedder’s OneRepublic) – but this is a more lyrically complicated affair. “I could stand by the side, and watch this life pass me by/So unhappy, but safe as could be” she sings as the chorus affirms her desire to feel pain and take risks if it eventually leads to happiness. It suggests there might be something slightly darker lurking under that wholesome pristine façade. Lush synth strings and piano sweep under her voice before the big drums and backing vocals lead into the ‘huge chorus’, a template of quiet piano-led verse with stadium-sized chorus underpinned by drums used again and again across the entire album.
Second track I Got You is perhaps one of the strongest on the album, with its shimmering guitars, hiccupping beats and hyperventilating chorus which contains one of Lewis’s best vocal performances. The expansive beats (which appear throughout, adding to the large, organic sound implied by the album’s title) and wide open arrangements suggest that far more time has been spent arranging and producing this album than her previous effort. Can’t Breathe is at first one of those negligible tracks, but the delightful falsetto chorus and sparse synth arrangements certainly grow on the listener, even though Lewis sounds like Mariah Carey at times (I suppose the backhanded compliment is in the fact that at least she has the range to even attempt such a feat). Brave arrives on a bed of Persian-sounding strings and beats, with lush melodies arriving at yet another ‘big chorus’. One of several songs that Lewis co-wrote, it is again lyrically ambivalent, as Lewis laments her own lack of strength when it comes to matters of the heart. The fact of her writing contributions also marks her out from her X-Factor contemporaries, as neither Alexandra Burke nor Cheryl Cole wrote a single note or lyric for their albums.
Outta My Head plunges the listener into a sonic world that is alien and unfamiliar on a Leona Lewis album – an electro-pop dance anthem, offering a sudden modernity that her stuffy first album lacked (whose songs were cherry-picked by two men over fifty – Simon Cowell and Clive Davis) which suggests that she has taken charge. This Max Martin produced song sounds at first like throwaway album filler, but despite the slightly limp chorus, the bridge – with its speeded-up voices – is fiercely contemporary, sounding like a Britney Spears album track. Things tend to sag a little in the middle of the album, with a quintet of mediocre pop fare – My Hands (sounding a little too Bleeding Love with its organ intro) is a decent ballad with a call-and-response chorus that’s just a little irritating. Guitar-driven Love Letter sounds at times like Black Eyed Peas I Got A Feeling, before moving to a forgettable M.O.R. chorus. Broken, co-written and produced with US songwriting stalwart John Shanks is a little two predictable with its stadium-rock chorus and gospel choir. Naked, perhaps the weakest song on the album, follows the guitar-pop template, sounding as it does like a contemporary Backstreet Boys song (courtesy of co-writer Kristian Lundin).
The album picks up towards the end, with a shimmering cover of Oasis’s Stop Crying Your Heart Out – perhaps one of the most-restrained songs on the album vocally – which unfortunately only highlights the weakness of the material of the proceeding four songs. Although nowhere near capturing the magic of her previous cover of Snow Patrol’s Run, it is a fairly leftfield choice of song and Lewis does it justice here (it also shows what a brilliant songwriter Noel gallagher is). Don’t Let Me Down, her collaboration with Justin Timberlake, is one of the highlights of the album from a songwriting perspective but the slightly anachronistic and clunky R&B pretensions – sounding a bit like Brandy did in the nineties – let it down a little. It also features one of her most assured vocal performances making the most of Timberlake’s unmistakable melodies full of falsettos and tight harmonies. Timbaland (Timberlake’s usual collaborator) would have taken this into more adventurous and edgy sonic territory, though it would work just as well with Lewis and an acoustic guitar.
Alive is the type of ballad we would expect from Kelly Clarkson (courtesy of John Shanks) and sounds far more authentic than their earlier collaboration, Broken, with a huge swooping chorus and gorgeous strings. Lost and Found closes the album on a high, another OneRepublic collaboration (Ryan Tedder also contributes vocals this time) that benefits from Tedder’s knack for a memorable melody, even if it does re-use (again) the sonic template from Bleeding Love and Happy. Echo is an album that certainly takes a little time to get used to – its gems are not immediately obvious, and that’s to Lewis’s credit, having selected and crafted songs that don’t possess that immediacy that much disposable pop music has to have these days. It is someting of a creative risk, but one that will pay off in time as these songs are sturdy, classic, and built to last. It also proves that she is a singer and songwriter with staying power and a very much deserved winner of the X-Factor (it is quite likely she will be the biggest star of this kind of reality television in the UK). She has both the voice and the ability to craft decent pop songs, and posseses a certain class lacking in most of her contemporaries. In truth, Alexandra Burke and Cheryl Cole have nothing on her.
Download: I Got You, Don’t Let Me Down, Brave, Happy
Official Website of Leona Lewis
Buy Leona Lewis – Echo