Music Review: Adele’s “21″ Sets The Bar High for The Best of 2011

Adele – 21 [2011]
XL Records

With expectations running high after her debut album 19 [2008] launched into charismatic reception in the United Kingdom, United States and just about every stratospheric height, Grammy-winning artist Adele Adkins certainly has a lot to prove as her latest offering, 21, hits the shelves in increments worldwide, into the ears of eager fans and discerning listeners.

The verdict? A sophomore slump it ain’t.

Adele has truly evolved into her music, and not just “a BRIT School alum with awesome talent and a big voice’, as was presumed when she burst in the scene. While 19 may have spawned the chart singles “Hometown Glory”, the Bob Dylan original “Make You Feel My Love” and the acclaimed “Chasing Pavements”, the album in general was pleasant, if not permeating. A few standout tracks, good hooks, and stirring choruses that prompted many a listen into the young British singer-songwriter’s abilities, was favorably gauged (although mixed) with the guarantee that Adele’s talent was incredibly promising. In a bevy of breakout Brit contemporaries, some of them had sassy follow-ups (i.e., Lily Allen’s “It’s Not Me, It’s You”), and satisfactory sequences (i.e., Corinne Bailey Rae’s “The Sea”), though others weren’t as stunning (i.e., Duffy’s “Endlessly”, a hollow contrast to her delightful “Rockferry”)… could it be that Adele has the best one yet?

21 plunges the listener into post-heartbreak territory, starting off with the pouncing “Rolling in the Deep” – it makes for a memorable opener, punctuated by reverberating stomps, handclaps and choirs in the distance. Followed by “Rumour Has It”, a playful song co-written with OneRepublic frontman Ryan Tedder, the vibe continues with a folksy twist. In fact, the Southern influence is evident in this record –apart from the first two tracks, listen in to the guitar strumming of “Don’t You Remember”, the gospel-tinged “Take It All”, and the blues-hued “One and Only” to discern whether Nashville might be beckoning Adele to wade through the Robert Plant-Alison Krauss collaboration “Raising Sand”, follow a Norah Jones-esque path, or to become an English equivalent of Lady Antebellum.

Then again, it’s not just country-style comfort singing, or blues/pop/soul searching, but rather an introspection of a more mature identity. Adele has distinguished herself from the rest of the Brit pack with a very credible production (amped by mega-producers Rick Rubin of Red Hot Chili Peppers, and Paul Epworth of Florence + the Machine) – solid vocals and heartfelt sentiments intact, and soaring, amid the full accompaniment. Suffice to say that 21 is a more cohesive studio outing than 19. Take the album for a few spins and soon the songs will be as emotionally reminiscent as a well-worn glove, harkening the conclusion that Adele is indeed a rare talent, transforming heartache into profound artistry. Her lyrics evoke sentimentality and honesty, ensconced in her lush, soulful singing and tender phrasing. Well, the country sound, as she discovered and fell in love with during her American tour, may suit her just as snugly as soul and acoustic pop; but in any genre she might venture into, trust that the warmth in her voice is still the outstanding (and unique) factor.