The album opens with "20teens", and from the first listen I was immediately struck by the similarity of her voice to that of Tracy Chapman, who lit up the world with her self-titled breakout album in 1988. There’s not only that same richness to her voice, but also a subtle rhythmic lilt to her delivery. Musically, though, this leans far more modern, marking a clear departure from Chapman’s more folky style.

I have to admit, my interest was piqued by the track "Software Developer", coming from that world myself. Musically, it’s really strong, tight rhythms, engaging instrumentation, and a production that keeps the track lively and textured. The lyrics, while clever, didn’t quite satisfy the nerd in me, but that didn’t stop it from being an enjoyable listen. Overall, it’s a song that balances fun imagery with solid musical delivery.

The vocals take centre stage on "Pinup Girl", and the music is no slouch either, delivering a wonderfully well-rounded track. For me, it very much feels like a single; upbeat, rhythmic, and utterly satisfying.

Things kick back with "The Lone Star State". The lyrics have a folk-like quality, but the instrumentation lifts the track into something entirely different. It carries a carefree, open-road energy, the kind of song you’d play driving in the summer with the windows down, fingers tapping the wheel, with no sense of urgency for the final destination.

I have to admit, "Regular Schmegular Girl" wasn’t quite my style. It has a harder edge and an almost rap lyrical delivery. It’s not a bad track, but since this isn’t my preferred style, it slightly disrupts the flow of the album for me. That said, with enough listens, I could see it becoming a track I wouldn’t love, but could still learn to enjoy.

With "Growing Pains", the vocals return front and centre, and they’re the glue that holds the whole album together. I have to admit, listening to the song, my critical brain went to sleep, it wasn’t until it finished that I realised it had just washed over me, compelling me to play it again. A double-edged sword, really: on one side, the track was so good I just wanted to enjoy it; on the other, it felt like I hadn’t caught a single word.

"Bad Rx" is very much a track with attitude, and a touch of venom, with the odd barb or two. It’s quite wordy, a trait shared by several tracks on the album, but the lyrics never feel superfluous or overcooked. They’re laid out with artistry, and hit with precision wherever required.

I’m not sure if the strings that open "Sticks & Stones" are real violins, but they set the mood beautifully. When the vocals enter, they blend perfectly with the instrumentation. The chorus arrives in a truly wondrous way, elevating the track as a whole. I also love the electric guitar that leads out the track. For me, this is by far my favourite song on the album.

I initially thought the previous track would make a good album closer, but I often prefer something more melancholic. Within seconds of "Frown Lines" starting, I knew this was exactly what I was going to get, and I couldn’t help but think, 'Yeah,' within the first few bars. Once again, we’re greeted by strings, not just violins this time, but cello as well. Whether they are real or not doesn’t matter; the scene is set perfectly. When the vocals enter, they take command of the track while still allowing the music to provide a perfect sound bed. Having previously stated my favourite track, I have to admit I wavered here, but hey, why can’t I have two favourites?

I really enjoyed this album, which for me is very much vocally driven, though that in no way diminishes the quality of the music and production, which are excellent throughout. The dreamer in me can almost imagine a stripped-down, live version of the album, one that would let the vocals soar even more. Hey, a man can dream, right? Even as it stands, the combination of expressive vocals, engaging instrumentation, and thoughtful production makes for a compelling and satisfying listen from start to finish.