If you have been paying any attention to the UK singles chart recently, it can hardly have escaped your notice that for the last couple of months it has been utterly dominated by the soundtrack for the Netflix smash KPop Demon Hunters. At the time of writing, Golden, by the cartoon’s chief protagonists Huntr/x, is enjoying its seventh week at No 1: a couple of weeks back, songs from the film would have occupied seven places in the Top 10 had chart rules not limited artists to three appearances in the Top 40.
The most striking challenge to its supremacy has been mounted by London singer-songwriter Olivia Dean. Her single Man I Need has been dug in at No 2 for the last month and has been joined in the Top 10 by its predecessor, Nice to Each Other, and her collaboration with Sam Fender, Rein Me In. Further down the Top 20, her old single Dive is enjoying an unexpected new lease of life. Were it not for a made-up K-pop band, one suspects we’d be talking about Dean’s ongoing success as the pop phenomenon of the moment, and not just in the UK: Man I Need is the fifth most played song in the world on Spotify at the time of writing.
Dean’s 2023 debut album, Messy, attracted respectful but mixed reviews and did respectable, rather than remarkable, business. It spawned a hit single in Dive, but seemed very much standard-issue stuff – tasteful neo-soul replete with vintage horn arrangements, ballads accompanied by lo-fi, slightly out-of-tune piano, tracks that opened with the sound of crackly old vinyl. Its author did the type of things that tasteful British neo-soul artists do: appearing on Jools Holland’s Hootenanny belting out You Can’t Hurry Love, covering The Christmas Song as part of a seasonal Amazon campaign, turning up on the soundtrack for the new Bridget Jones film alongside Jamie Cullum and George Ezra. Of course, there’s nothing wrong with any of that, but nor did any of it suggest that Dean was the kind of artist built to contest the dominance of a $100m (£74m) smash-hit animation, the soundtrack of which has topped the charts in 16 countries.
So how has it happened? High-profile support slots on Sam Fender and Sabrina Carpenter’s stadium shows early in the summer probably helped broaden her audience, but the real answer seems to lie on The Art of Loving. While you wouldn’t describe it as a complete reinvention, it certainly constitutes a noticeable rethink. It expunges most of the cliches of Dean’s debut album – or rather quarantines them on a track called Close Up – and instead looks for inspiration to music that emanated from recording studios in 70s LA. The Art of Loving dabbles in both Rumours-adjacent soft rock – you’re never far from a sun-dappled electric piano line or a breezy acoustic guitar; Baby Steps offers up slick, yacht rock-y funk – and, on So Easy (To Fall in Love), Carpenters-style MOR pop that would once have been considered entirely beyond the pale.
It’s a sound that’s familiar without feeling hackneyed or self-consciously retro: Something Inbetween is powered by a muffled rhythm that sounds like someone playing a techstep drum’n’bass track with a duvet over the speakers; lurking in the depths of Nice to Each Other there’s a wash of shoegaze-y guitar noise and gusts of ambient synth drone. Airy and inviting, it suits Dean’s sweetly understated vocals – mercifully lacking affectation, either of the post-Winehouse “jazzy” variety or the weird, consonant-mangling “indie voice” that’s supposed to connote intimacy in 21st-century pop – and adds a cinematic gloss to her lyrics. Dean is big on diaristic detail as she navigates ex-related angst and tentative new relationships: “I don’t know where the switches are, or where you keep your cutlery.”
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Perhaps more importantly, Dean and her co-authors – including Tobias Jesso Jr, and Matt Hales, who once plied his trade as singer-songwriter Aqualung – have significantly upped their game. Every chorus has been polished until it catches the light (Baby Steps offers a particularly gleaming example), while one suspects that an enormous amount of effort has been expended on making the melodies of Nice to Each Other and I’ve Seen It sound as effortlessly charming as they do.
So the album breezes past. It’s exceptionally well made but feels entirely natural; it’s mainstream commercial pop, but laudably devoid of obvious cliches. If Dean’s debut seemed like an artist trying to find their place in the landscape by ticking relevant boxes, The Art of Loving seems like someone finding their own voice. The sight of Olivia Dean battling a cartoon K-pop band in the charts’ upper echelons is proof that pop in 2025 is a business you can’t really predict, but still, The Art of Loving’s success seems a foregone conclusion.
This week Alexis listened to
Makaya McCraven – Los Gatos
Chicago jazz drummer-cum-sonic collagist scores an ace by looping a section of a 2015 live improvisation – featuring Tortoise’s Jeff Parker – into a hypnotic reverie.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.theguardian.com ’
