Albums of the Year

LEWIS CAPALDI DIVINELY UNINSPIRED TO A HELLISH EXTENT

Ignore the somewhat morose title - this record is an absolute delight. From start to finish, Scottish singersongwriter Lewis Capaldi croons through the 12 tracks, raw emotions spilling over via his heavenly, charismatic voice.

The rising star, who topped the charts for several weeks with the record when it was released in May, is easily comparable to Adele at the start of her career a decade ago, despite only being named on the BBC Sound Of list rather than winning it.

He had already spent seven weeks at number one with breakout single Someone You Loved, so it was clear guitar-wielding Capaldi was set for mega-stardom, with his debut album only further sealing the deal.

From epic opener Grace to the paredback and effortlessly emotive Headspace via the melodic Forever, piano ballad Bruises and Don’t Get Me Wrong, a brokendown track with a slow, bluesy beat and a choir - it’s obvious not one track is filler.

Capaldi oozes talent and he is dependable. His lyrics are rich and clever, and his voice is soulful far beyond his 23 years. The world needs more heartbreakingly beautiful ballads, so thank goodness for Capaldi.

LANA DEL REY NORMAN F ****** ROCKWELL

Lana Del Rey’s latest album, released in August, is a vibe. Not only is she bold enough to include the f-word in its title, but she’s also secure enough in herself to litter the record with swear words, in both the track names and throughout her lyrics. But the amount of cussing does not detract from her charttopping, shining example of a contemporary yet nonconformist piece of musical brilliance.

Years on from her breakthrough mega-hit Video Games, Del Rey now has the confidence to take a wide step away from the rest of her peers, and Norman F ****** Rockwell is a jaunt through hazy, classic rock-inspired, ethereal, majestic, hypnotic, anthemic folky-pop, her voice floating like chiffon across each intriguing track.

From the nearly 10-minute long mesmerising Venice Beach, filling your heart and soul with the warmth of a sundappled Californian sunset, to the melodic and retro-sounding The Greatest and the haunting Hope Is A Dangerous Thing For A Woman Like Me To Have - But I Have It (originally titled Sylvia Plath after the tragic poet), Del Rey has proved any detractors wrong. If she even has any. She’s one of the best artists we’ve got, no contest.

THE WHO WHO

In 1965 The Who’s My Generation single featured the words “I hope I die before I get old”.

The band’s drummer, Keith Moon, died 13 years later, aged 32. Bassist John Entwistle didn’t grow old either - he died in 2002, aged 57.

But, thankfully, singer Roger Daltrey (75) and guitarist/songwriter Pete Townshend (74) are still with us. Who - which reached number three in the charts in December - is their first album in 13 years (and only their second in 37), but has a vitality that belies their years.

All This Music Must Fade is an object lesson in how to start a rock album - with a powerful, upbeat song that sets the scene. The bluesy Ball And Chain is about the Guantanamo detention camp in Cuba, with lyrics a lot more considered than hoping for an early death.

Detour is poppier, with even a touch of lounge, but with its name (The Who evolved from The Detours) and its Baba O’Rileystyle keyboards, it’s also fondly sentimental of Townshend and Daltrey’s 60 years of shared history.

Townshend sings lead on the beautiful orchestral pop song I’ll Be Back. We can only hope they are.

BEYONCE HOMECOMING: THE LIVE ALBUM

Within the first few moments of this nearly two-hour long album from Beyonce dropped in her signature surprise style along with a Netflix concert documentary in April - it was obvious this was going to be one of the best live musical releases of the year, if not the decade. The singersongwriter’s groundbreaking 2018 Coachella performance overflows with richness, depth, powerful messaging and impeccable artistry.

It’s impossible to overstate how incredible Homecoming is. The conceptual show, painstakingly crafted over an eight-month period, was inspired by America’s historically black colleges and universities (HBCUs) and is a loving ode to AfricanAmerican culture. Joined by more than 200 dancers and musicians, Beyonce stuck a not-so-polite middle finger up to the festival’s long-held hipster “flower crown” image, flipping it on its head.

In terms of the music itself, Beyonce revisited her extensive back catalogue and breathed new life into it. Miraculously she somehow managed to improve on her already flawless portfolio of hits.

Homecoming undeniably proves Beyonce is probably our greatest living entertainer.