The songs
Emeli Sandé released as previews of her fourth studio album -- her first for the relaunched Chrysalis label -- were connected by little more than the singer/songwriter's voice and words. "Family" exuded rejuvenation and invincibility with
Sandé's vocals, so modulated at points that they conflicted with the song's humanity, bursting through a mechanized rhythm and a blur of strings. More promising was "Look What You've Done," a lovestruck garage-flavored track
Sandé produced herself. Add to those a clap-and-stomp optimist anthem ("Brighter Days") and a hopeless ballad resembling a refurbished mid-'80s torch song ("There Isn't Much"), plus an undaunted belter evoking the same era ("Ready to Love") and a woozy ballad in which
Sandé is unfulfilled but reassuring ("Oxygen"). What to make of all that? Thematically and sonically,
Let's Say for Instance does have some cohesion, if only in its final quarter, where it shifts from heartbreak to soul ache. There's palpable grief and anger regarding racist killings, theatrical consolation and affirmation for a loved one in a dark place, followed by "Brighter Days" and two closing songs overflowing with praise and encouraging platitudes. The first three quarters bounce around in style and emotion. They're most enjoyable when
Sandé radiates uninhibited joy about her new love. Brightest of all is "My Pleasure," a delectable tropical bliss-out that tickles, flutters, and bobs like
Sandé and producers Prince Galalie and Aquarelle aimed to make an undefeatable homage to
Mariah Carey and
Timbaland. The beaming "Look in Your Eyes" retrofits deep and funky post-disco (Prime Time's "I Owe It to Myself). "Summer," its tone set with gentle whirls from Oli Morris' saxophone, is
Sandé's airiest love song yet, pure expression rather than a performance. A whole album of moments like those wouldn't have worn out its welcome. ~ Andy Kellman