RAYE delivers a breathtaking story in 'THIS MUSIC MAY CONTAIN HOPE.'

Recommended tracks: “Beware.. The South London Lover Boy.”, “”Life Boat.”, “”Goodbye Henry.” (feat. Al Green), “Nightingale Lane.”
Artists you may like: Olivia Dean, Zara Larsson, Lola Young

With RAYE having over 10 years in the industry and being the current record-holder for the most BRIT Award wins in a single night, there were a lot of expectations placed on her sophomore album. Rather than cementing herself into a singular sound or genre, the UK artist has pushed further into her genre-blending and experimentation. This risk is well worth it, with the resulting THIS MUSIC MAY CONTAIN HOPE. being nothing short of a master class in songwriting, arrangement, and storytelling.

Pivoting from the themes of desperation and betrayal that laced RAYE’s debut My 21st Century Blues, THIS MUSIC MAY CONTAIN HOPE. sees the light at the end of the tunnel as the singer uses her hardships as catalysts to become stronger.

Starting off the album is the overture “Intro: Girl Under The Grey Cloud.” RAYE narrates over the strings and woodwinds as the “story begins at 2:27AM on a rainy night in Paris.” Several references to other songs on the album are made; all references that will soon be revealed.

Fading into the end of the intro is “I Will Overcome.”, a careful reminder for RAYE to stay hopeful in spite of fear and loneliness. A dark and empty organ starts off the song as a drum machine gives a syncopated but sombre beat. RAYE laments on her current state, asking “who wants to be in Paris / Drunk and alone,” while a sad violin cements the singer’s anguish and also hints at the eventual message.

In this time of self-pity, RAYE lists the overwhelming reaction the world has had to her music in the past five years with the careful line, “Some people say I remind them of Amy.” This line holds several disheartening realisations through the comparison to Amy Winehouse, a immortalised and powerful vocalist but also a tragic figure, having passed away at age 27, an age RAYE has only recently surpassed. Following this nervous tone are the vocals, which switch between being heavily layered and panned and being close and singular to mirror RAYE’s scattered state of mind.

“I Will Overcome.” is the first instance of her effortless shifts between electronic and orchestral stylings, with other genres added to the mix in “Beware.. The South London Lover Boy.”, which incorporates electrifying swing. “Beware.. The South London Lover Boy.” is parleyed in the beginning with Disney villain-esque laughter and early horror-esque screams accompanying the singer’s warning about a “strange creature.” The accelerated tempo is followed with heavily layered vocals to emphasise its early swing influences. Lyrically, the song is playful and cheeky, with RAYE warning that the “South London lover boy” is “not looking for a heart, just your pillow” and for “girls [to] stay safe out there.”

The swing beat doesn’t stay for long, however, with elements of rap and modern R&B marking “The WhatsApp Shakespeare.” The closer piano and drum machine bring listeners back into the present day, but the lyrics make references to tales of old. In the opening verse, RAYE relates the struggles of “a girl and a serpent” to her own romance misfortunes, stating that the “devil did send him.” As hinted in the title, “The WhatsApp Shakespeare.” makes many references to the work of the playwright with lines such as, “sounds very dramatic, don’t it / a modern-day tragedy,” and “Juliet must run / Juliet must vanish.”

References to the tales of old continue into “Winter Woman.” as RAYE declares she’ll “become the queen of hearts” following one too many heartbreaks. Many songs on this album take the structure of fairytale storytelling, and “Winter Woman.” is a great example. The perspective shifts from first-person to second-person, with RAYE taking on the role of the narrator for her own misfortunes. This helps in conveying the album’s hopeful message, with the singer being able to relate the lessons she’s learned from her setbacks from a reflective point of view.

Film composer Hans Zimmer is the first feature on this album, with his string arrangements accompanying the anthem of a girls’ night out in “Click Clack Symphony.” The sound of heels walking provide the base of the rhythm, twisting the “marching” song trope on its head. This call to action is further emphasised by the pre-chorus’s “send a call out” and “who called the girls out? I did.” Zimmer is given more focus in the second half of the song as RAYE exclaims that “she’ll be alright / no riding shining armoured knight / she will save herself this time.” Strings swell over RAYE’s narration with brass and percussion coming in to stress the melody even more.

Starting off “I Know You’re Hurting.” are a stripped-back piano and vocals with a soft synth giving the background some ambiance. One of the sadder songs on the album, “I Know You’re Hurting.” only brings new elements in slowly, in contrast to the sudden changes in the first half of the album. This shift in approach makes sense for the song as it’s one of the most vulnerable on the album. A song about wanting to help, “I Know You’re Hurting.” describes the desire to be there for someone who hides “underneath that soft and gentle smile you put on this morning.”

With such a heartbreaking song at the midpoint of the album, RAYE chooses to counter that pain with electronic music in “Life Boat.” Voice memos from different people repeating the line “I’m not giving up” provide a sentimental response to the previous song as a 404 kick drum brings in the rhythm. UK electronic duo Punctual produced “Life Boat.”, giving the jazz fusion a break with arpeggiated synths and beat drops. This is the most electronic the album gets with the return to jazz in the following “I Hate The Way I Look Today.”

Taking clear inspiration from the likes of Ella Fitzgerald, “I Hate The Way I Look Today.” gives us a glimpse into RAYE’s insecurity about her looks. The live jazz band mirrors the songwriter’s state of mind, similar to “I Will Overcome.”, by slowing down during RAYE’s self-reflections but speeding up as the singer quickly lists off her insecurities. Finishing off the ’50s jazz sound is a phenomenal solo from the live band’s saxophone section consisting of Mike Liserge, Paul Booth, Howard McGill and Jon Shenoy.

Moving forward from the ’50s and into the easy listening of the ’60s and ’70s, RAYE is joined by the great Al Green in “Goodbye Henry.” The bass line in this song is easily the highlight, as it leads the rest of the instruments into an easy, smooth rhythm. More space between the instruments and the choice of electric keys rather than an organ also adds to this smoother, relaxed tonality. RAYE narrates the start of the song, mentioning the song’s tone: “this is a sad song, although it feels happy.” Both Green and RAYE offer verses of a healed heartbreak, with RAYE ensuring listeners “his name isn’t even Henry, I’m just being respectful.” A definitive highlight of the album, “Goodbye Henry.” shows RAYE’s top lining abilities, with the melodies becoming more infectious as the song progresses.

The second single released in anticipation for THIS MUSIC MAY CONTAIN HOPE. was the heartbreaking ballad “Nightingale Lane.” With a larger focus on strings in the chorus, the orchestral arrangement in this song has tearjerking swells, setting the backdrop for another showcase of RAYE’s incredible vocal range. In the song’s bridge, the singer holds notes for up to 10 bars. Apart from the strings, the instrumentation is reminiscent of the soulful ballads of the late ’60s and early ’70s. While the blend of early soul and orchestra is no new concept, it fits perfectly within this album’s ambition to seamlessly move between genres.

Moving on from the heartbreak of “Nightingale Lane.” is the upbeat “Skin & Bones.” which is the album’s funk addition. Sharp, fun electric guitars give the song its fun rhythm, which a keyboard decorates on each side of the track. “Skin & Bones.” finds humour in constant heartbreak as RAYE describes a man who wants “two eyes and a liver and a nose and no brains.” In the song’s breakdown, the trumpets have fun playing us off. This much more cheeky approach to RAYE’s search for love is also a great setup for the THIS MUSIC MAY CONTAIN HOPE’s next song, “WHERE IS MY HUSBAND!”

“WHERE IS MY HUSBAND!” has been stuck on playlists and radio waves since long before this album’s release. Another jazz fusion calling back to the bebop sounds of the 1940s, the melodies in this song are the obvious highlight, with RAYE making light work of the fast swinging tempo and quickly changing progressions. The songwriter’s quick-witted lyrics are also a highlight, with the second verse’s “I’m doing lonely acrobatics, unzipping my dress at 2AM / And I’m tired of living like this,” playing out a full story in just two lines. “WHERE IS MY HUSBAND!” is also the first song of three that features one of RAYE’s family members, with her grandma assuring the singer in the bridge that “Your husband is coming.”

In the more gospel-inspired “Fields.” RAYE’s Grandad Michael makes an appearance. For the first time on the album, an acoustic guitar takes up the lead in the instrumentation with a choir backing the lead vocals. “Fields.” takes a more vulnerable and personal look into the songwriter’s uncertainty about the future and she admits to her grandad that she “seem[s] to dwell on what I don’t have instead of what I do.” Grandad Michael accompanies the backing vocals before joining RAYE through voice note to reassure her that her fears are valid and that you can indeed feel “lonely in a crowded room.”

Bringing back the upbeat energy is the song “Joy.” featuring RAYE’s sister’s Amma and Absolutely. The fast-paced percussion that starts it off sets the scene for the joyful melody as RAYE “declare[s] and decree[s]” that the things that have been holding her back will leave. An ascending piano progression adds anticipation to the catharsis the singer is looking for. The brass section in “Joy.” also effortlessly counters the fast-moving melody, adding to the song’s excitement. Amma and Absolutely join after the first chorus with a filter over the instruments. “Joy.” is the reckoning with the sorrow of the start of the album as RAYE, Amma and Absolutely “declare there will be joy.”

“Happier Times Ahead.” is the album’s penultimate song and takes on a smoother tone. With a more wooden piano and closer leading vocals, the song makes observations on strangers struggling with heartbreak. The line “I need a band” sees the introduction of the rest of the instrumentation, with a snare and skipping brass providing the easygoing mood. Between a man whose “last lonely pint at the bar will be the highlight of his day” and woman who’s “cried a hundred seas,” RAYE stresses the need to believe in “happier times ahead” and that “it can’t rain forever.” The band sees a playful and fun outro with the brass section once again taking lead.

The final song, “Fin.”, sees the return of the full orchestra as RAYE leaves “you with an unapologetically dramatic and powerful, this last metaphorical summary.” RAYE takes the time to thank everyone who contributed to the album, including her producers, band, audio engineers, mixers and orchestra.

THIS MUSIC MAY CONTAIN HOPE. is 17 tracks and almost 2 hours long, but you wouldn’t notice that while listening as you’re sucked into RAYE’s world of making fairytales out of the everyday. Rather than be held down by people’s impressions and expectations, RAYE has created an album that reflects her personality and mindset.

RAYE has been taking this album on tour around the globe is expected to start her the US leg of her tour on March 31. Tickets can be found here.