TATE McRAE: So Close To What (RCA)
Verdict: Star in the making
The rise of Tate McRae suggests there’s still a place in pop for a conventional song-and-dance act.
The Canadian might not have the vibrant imagination of Charli XCX, the confessional rawness of Olivia Rodrigo, or the camp stage presence of Chappell Roan.
But a reliance on more traditional virtues — and lively, well-sung songs — have earmarked her as a star in the making.
The 21-year-old’s third album, So Close To What, should cement her status. McRae last week added three more dates (Nottingham, London and Manchester) to her forthcoming UK arena tour and, as a trained dancer, she is promising plenty of high-octane choreography to go with music that often feels like a throwback to the early 2000s heyday of Britney Spears, Christina Aguilera and The Pussycat Dolls.
The rise of Tate McRae suggests there’s still a place in pop for a conventional song-and-dance act
The Canadian might not have the vibrant imagination of Charli XCX, the confessional rawness of Olivia Rodrigo , or the camp stage presence of Chappell Roan
Born in Calgary to a Canadian father of Scottish descent and a mother of German ancestry, McRae began performing her own songs after posting dance videos on her YouTube channel in lockdown.
After moving to L.A. to finesse her songwriting, she broke through with 2023’s TikTok hit Greedy, a Top Three single in the UK, and she employs some big-ticket collaborators, including Julia Michaels and OneRepublic’s Ryan Tedder, here.
With Tedder adding glossy synths, drums, guitars and backing vocals, the onus is on pulsating electronic beats, songs rooted in poppy R&B, and breathy, high-pitched vocals.
On Miss Possessive, she tells a love rival to stay away from her man (‘Some fights you never gonna win, just keep your eyes off him!’).
On Signs, she damns an empty-headed suitor with faint praise (‘I know you’re intelligent… just no rocket scientist’), while Revolving Door deals with an ex-lover she can’t quite shake off.
There’s some gentle sexual innuendo on Dear God, but the fare is generally wholesome.
There’s a cameo for the singer’s Australian boyfriend The Kid Laroi (on I Know Love), and another for American rapper Flo Milli (on Bloodonmyhands), but it’s McRae who remains front and centre.
Amid her time-honoured tales of love lost and found, she even takes a few detours, with Nostalgia an acoustic ballad about seizing the moment, and Purple Lace Bra a wry comment on the sexualisation of young female singers.
DOVES: Constellations For The Lonely (EMI North)
Verdict: Cinematic return
Nobody does cinematic gloom quite like Cheshire trio Doves. After beginning life as dance act Sub Sub — securing a Top Three hit with 1993’s Ain’t No Love (Ain’t No Use) — they graduated to widescreen indie-rock with the Mercury-nominated Lost Souls album in 2000, and have since struck a balance between the euphoric and the downbeat.
The band’s sixth album, Constellations For The Lonely, is typically dark and dystopian.
Opening track Renegade imagines the city of Manchester in nightmarish terms, inspired partly by Ridley Scott’s sci-fi movie Blade Runner.
Nobody does cinematic gloom quite like Cheshire trio Doves, writes Adrian Thrills
The band’s sixth album, Constellations For The Lonely, is typically dark and dystopian, writes Adrian Thrills
Orlando continues the filmic mood by looking to Paris, Texas — Wim Wenders’ 1984 screen drama — to tell the tale of a social outcast.
The bleakness is also a metaphor for personal woes… and the ability to overcome them.
Doves cancelled a tour in 2021 so that singer and bassist Jimi Goodwin could focus on his mental well-being, but he’s back in action here, providing the lead vocals on Renegade and singing of working his way through his hardships on the soulful Stupid Schemes.
Elsewhere, the two other band members — twin brothers Jez (guitar) and Andy Williams (drums) — are more to the fore, sharing lead vocals on the gentle psychedelia of Cold Dreaming.
Goodwin is back in the spotlight for the album’s epic, choral finale, South-ern Bell, this time duetting with Jez Williams. ‘You’ll never be alone again,’ he sings, bringing a satisfying comeback to a big-hearted conclusion.
Both albums are out now. Tate McRae’s Miss Possessive tour opens on May 19 at Utilita Arena, Birmingham. Doves continue their UK tour tomorrow (March 1) at Leeds Beckett Students’ Union (both on ticketmaster.co.uk).
ELGAR: The Dream Of Gerontius (Ondine, two CDs)
This thrilling live performance of Elgar’s choral masterpiece was recorded live, with no fewer than five choirs.
The Helsinki Music Centre Choir and two pedigree Finnish chamber choirs are joined by Cambridge University Symphony Chorus and the alumni of Clare College Choir.
Nicholas Collon knits it all together and the orchestra — the Finnish Radio SO — plays superbly; which is just as well, as the production very much emphasises the musicians.
This thrilling live performance of Elgar’s choral masterpiece was recorded live, with no fewer than five choirs
Tenor John Findon, still relatively young, is a deeply introspective Gerontius and has the vocal heft for the big moments; baritone Rodney Williams is excellent in the bass roles.
My only slight qualms concern mezzo-soprano Christine Rice, who is not in her very best voice; but she still interprets the Angel’s role sensitively and the recording is very good.
BACH: Orchestral Music (Naive)
For those who cannot have enough Bach, this delightful album by top Italian musicians will provide tremendous fun.
For those who cannot have enough Bach, this delightful album by top Italian musicians will provide tremendous fun
Rinaldo Alessandro has scored a major harpsichord work, the Overture In The French Style, and various movements to provide three delightful orchestral suites.
From his group Concerto Italiano, he has selected just a string quartet, double bass, flute, two oboes and bassoon to make a limber ensemble, urged on by him at the harpsichord.
One of the suites is for flute, strings and continuo and the solo instrument is played with style by Laura Pontecorvo.
Unlike Bach arrangements of an earlier age, which were usually much too heavy, these are made and played by people who know his style inside out.
