This is the debut album from merci, mercy. While her genre is often described as alternative pop, that label feels more a reflection of her indie status. Were she a regular presence on mainstream radio, she would be recognised as the pop star she is and, hopefully, destined to become.

The album opens with "Inside Out", introduced by a guitar lick that feels almost like a stadium entrance. A pulsing drum follows, joined by guitar and then her vocals, which carry a sugar-sweet pop sheen. Pop is not usually a genre that draws me in, but after spending time with this album, it has very much revealed itself as a grower.

"Cigarettes in the Dark" continues those strong pop sensibilities, this time pairing them with a darker lyrical undertone. Despite that shadow, there is an undeniable pull that makes it hard not to move.

It is bittersweet to enjoy something so much when the lyrics hint at self-loathing, as they do in "Unrecognisable". I tend to bring a lot of empathy to lyrics. I know they often exist to serve the music, but there is usually a fragment of someone’s heart in there too, and it's hard sometimes not to pause and feel it. Maybe that's the sign of truly good music.

And then that empathetic response surfaces again with "The Word Love", where I find myself needing to stop reading the lyrics and switch off the analysis. Set against a steady beat, the words unfold around the feeling of not quite believing you deserve to be loved. It sounds heavy on paper, even a little bleak, yet it never feels that way. There is a real art in making pop that explores deeper emotions while remaining eminently listenable.

I may be mistaken, but I think "Unsaid" may be the most autobiographical track so far. From the limited research I did, I know she moved so Sidney on her own to move forward in her career, so many of the lyrics potentially tell that unfolding story, and it does sound like quite a story, which I'm sure is far from over.

I love the intro to "Jealousy", which hints at The Cure or one of those mainstay 80s indie bands. There is another drinks reference and I really need to stop the Freud and focus on the track itself, which is, once again, polished pop. Pop is often used as a derogatory term, particularly by older generations, but it is hard to deny its pull when your head is already moving in time with the music.

"I Bet She's Really Nice" has a much softer feel. It does ramp things up before long, but I was drawn to that gentler opening and would have happily stayed there. Not that the track ever becomes heavy, but I am clearly taken by the lightness, simplicity and the more intimate mood it initially hints at.

For me, "Angel" was not quite my cup of tea, which perhaps says more about my demographic than the track itself. It is a competent song, carrying a bit more sass and swagger, but one I would likely skip upon listening to the album.

And, as if she heard me, "Shrine" is more of the track I was hoping the previous one might be. It provides a nice respite from the full-on pop sound while giving more space for the vocals to shine.

"Hold On You" feels more dance-focused. There’s a low key, throbbing bass line, with breaks for those light, bright piano fills. I’d like to think my dance days are long over, some might even argue they never existed, especially anyone who saw me dance, but I can still appreciate the vibe, and this track certainly has it.

Returning to that pop sound, "One of a Kind" is fine, but something feels missing, though I can’t quite put my finger on it. Many of the earlier tracks share a certain thread that seems broken here. It’s not a bad song, just one that doesn’t grab me the way the others do.

Much the same goes for "Whispers". It feels like a track from another album, or written in a different period. Maybe I’m being overcritical, but that’s just how it strikes me. I’m very much an album purist, so I tend to think of it as something to listen to in its entirety. For me, dropping this track and the previous one might have made for a much punchier album.

And finally, "Port Royal (a love story)", what a lovely way to round off the album, an acoustic guitar–driven waltz. I can almost imagine readers raising a quizzical eyebrow, but for me, it’s the perfect closer. It veers in a softer direction and leaves space for reflection, a mark of a really good album.

Even if you’re not a fan of pop, it’s easy to appreciate when it’s done well, think Taylor Swift or Ed Sheeran. Apart from a couple of tracks, I really enjoyed this album and the reminder that there are so many genres of music worth exploring. It’s rare for anyone to love every track on an album. Woodface by Crowded House is near-perfect for me, yet I still can’t help skipping "Chocolate Cake". So mercy, merci, you are in good, if not the best company.