The first time I encountered Elles Bailey, it was at a show at The Robin 2, in Bilston. Elles was playing support and, with no disrespect to the headliner that night, rather stole the show. Since then, it has been a pleasure to note Elles’ continued (and much deserved) ascent, and there’s a buzz around new album Shining in the half Light that suggests Elles is not likely to slow down any time soon. Inspired by the pressures and pain of the pandemic, which left so many people adrift and in fear for their livelihood, Shining in The Half Light strikes a defiant pose, with Elles eager to remind those who found it easy to dismiss artists, just how important the arts truly are. It lends a certain edge to the record, although the primary approach is through hope and empathy, rather than bitterness and regret, ensuring that it remains a soulful and endlessly repeatable listen.
Not that Elles pulls punches. Opening number Cheats and Liars is vocal in its disdain for those who clutter up the corridors of power. Pertinent when it was originally written, considering the current “party gate” scandal, it seems tailormade for the climate in which we find ourselves, and Elles delivers the track as a dark, soulful stomp that shows off the stunning production values to great effect. With richly detailed piano, Elles’ smoky voice and slide guitar all floating through the mix, Cheats and Liars is an opening song that aspires to a cinematic grandeur with considerable success. Stepping up the pace, the organ soaked The Game comes marching in, as Elles sings “always dance to the beat of my own blues” – a mission statement that underpins Elles’ entire career. The wiry, mid-paced stomp of Stones has a casually hypnotic feel that flows towards a typically memorable chorus, powered by huge chords, and supported by gospel-fired backing singers. The first track to adopt a more reflective pose, Colours Start to Run has an Elkie Brooks vibe, and the calmer soundtrack really allows Elles’ vocals to shine. The more restrained approach remains on Different Kind of Love, a lovely blues that settles under the skin from the outset.
Having turned the lights down low, Elles takes us in a different direction altogether on the dusty Who’s That, which sounds like Nick Cave and Tom Waits jamming together on a dark, preacher blues number. Detonating with considerable force, the hard rocking Sunshine City sweeps away the gritty atmosphere evoked by its predecessor, as Elles prowls the stage to the sound of a stinging riff. Another reflective piece, Halfway House is a heart-breaking piece set to the sound of an acoustic guitar. It builds beautifully, but it is in those early moments, Elles shorn of her backing, that the album’s soul shows through. With a smooth, Robert Cray vibe, Riding Out the Storm is a slinky number complete with organ flourishes and fluid slide, all leading to a sparkling chorus. It leaves the subtly progressive Shining in The Half Light to see the album out. Adrift in a sea of reverb-drenched guitars, barely held in check by the snaking bassline, it’s a gorgeous piece of music that steps outside of the blues and shows the depth of influences Elles and her band bring to the table. It provides this special album with a remarkable conclusion, and it leaves the listener very much wanting to see where Elles will take her music next.
Beautifully produced and with fantastic musicianship throughout, Shining in The Half Light is packed with memorable moments. The mix is perfect, allowing plenty of space for Elles’ stunning voice, and the album runs the emotional gamut, from heartbreak and anger to joy and wonder, before reaching a conclusion that seeks to inspire hope in all who hear it. It’s a wonderful record and, if there is any justice at all in this world, it will propel Elles to the next level in an already impressive career. 9/10
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