The Birdy we’ve all become accustomed to has a knack for releasing heartstring-tugging cuts that thrive with lush, crooning vocals and her latest record sees her step into pop-tinged world filled with liberating and emotive cuts. Her back-catalogue boasts five exquisitely produced records, including 2011’s breakout Birdy. Ranging from movie-worthy numbers (“Not About Angels”), delicate vocalisations (“Deep End”), exuberant covers (“Skinny Love”) and emotion-driven contemplations (“Keeping Your Head Up”), Birdy’s decade in the industry has explored all the corners of introspective, delicate musicianship. Her latest delve into sonic stylings comes in the form of the eleven track record Portraits.
Album opener “Paradise Calling” reintroduces us to the world of Birdy. Opening with incredibly high-energy electronic notes, the track is a delightful taster of the rest of the record as Birdy declares “All I ever wanted was something to believe.” The sophomore track, “Raincatchers,” unveils itself with a striking orchestral movement that perfectly introduces Birdy’s lush vocals. This cut sees the artist move away from the usual atmosphere of melancholy to deliver a more upbeat, energetic number that delves into alt-pop sounds and offers up a narrative filled with poetic lyrics. Swaying in the same sonic vein as Kate Bush – overriding pop tones dominate the track with a swirling, colourful soundscape.
Where “Raincatchers” offers up joyful instrumentals, “Your Arms” juxtaposes with delicate piano notes and soothing vocals from the leading lady. This track harks back to earlier releases and wouldn’t find itself amiss amongst the beauty and delicacy of Fire Within.
Following on, “Heartbreakers” offers up the same heartache felt veined throughout the previous track, but with the addition of echoing, vocalisations, and soaring synth-laden elements. More poppy and preppy “Heartbreakers” is an exuberant ode to letting go (“If someone's gonna let go / It's me that's gotta let go), and as the title suggests, coming to terms with the end of a relationship and the heartbreak that ensues (“Heartbreaker / It was over right from the start”). Here is where Birdy’s artistry and knack for narratives shines through, as, despite the conflict between the lyrics and musical substance of the cut, the track still makes sonic sense with glimmering slivers of optimism.
“I Wish I Was A Shooting Star” takes its place as the most ballad-esque number on the record. Almost acapella, barely audible electronics swirl, percussive beats slowly introduce themselves as Birdy prays for an escape (“I’m dying to get out of here / I wish I was a shooting star”). This track is seemingly where the album takes a u-turn and reverts back to Birdy’s older sounds, steering away from the upbeat melodies the album initially introduced.
Sister tracks “Ruins I” and “Ruins II” are best experienced when played sequentially, rather than being wrapped around the middle section of the record. Soothing with hints of experimentalism, the cuts sit in the same vein as a handful of Lorde numbers as Birdy delves deeper into the world of soft pop.
Closing the record is “Tears Don’t Fall” that rounds of this album's swirling journey with thrumming percussion, almost-hidden piano keys and Birdy’s crooning vocals. Simply her most confident and exploratory project to date, Portraits is an exemplary display of Birdy’s prowess as both a musician, and a songwriter. Her move away from covers to original stylings was a bold and impressive move from Birdy, and it's more than paid off.
