And Then Life Was Beautiful

The title and first song of Naos third album are a bit of a fakeout. And Then Life Was Beautiful opens with the singer in a beatific state, relieved at having weathered a turbulent 2020 that forced her to take stock. Naos outlook and radiant vocals are perfectly matched, seemingly irrepressible. While shining and untroubled moments also occur later, And Then Life Was Beautiful more often confronts a failing relationship and reckons with personal shortcomings. Nao tries to repair lines of communication, loses sense of herself, ultimately severs ties with a lover, and also extends contrition and support to a friend she neglected. Two particularly fine breakup ballads of opposing makeup are in the mix. Glad That Youre Gone is the breezy sound of a delighted Nao shedding a lover like it isnt anything; Good Luck, riding on a rhythm that grips a little tighter as it repeatedly uncoils and recoils, has Nao and harmonious duet partner Lucky Daye exchanging embittered if coolheaded shots like true equals. There is even less funk to this album than on Naos second LP. The generally softer and sweeter backdrops, which lean toward modern adult contemporary R&B and at times are plain, allow Nao to do more with her voice, a lithe soprano that glides, swoops, and flutters without strain. The rare uptempo songs -- a romantic Afrobeats escapade with Adekunle Gold, and a tropical carpe diem jaunt -- are substantial, not here merely for the sake of variety. In the midtempo range is another standout deviation, Woman, a celebration of sisterhood that peaks when Nao answers the featured Lianne La Havas with Take my mirror out the bag and fill it with confidence. Once Nao enters on the finale Amazing Grace, an ethereal original that shares some lyrics with the popular hymn and delivers another message of salvation, it becomes more clear why the title song, an ideal closer in just about any other context, starts the album. ~ Andy Kellman

UKシーンきっての才媛が放つ3年ぶりの3作目。パンデミックと自身の出産により環境と心境が変化するなかで制作されたという内容は、これまで纏っていた独自のプログレッシヴなサウンドを脱ぎ去った一方で、彼女の芯にある親しみやすい音楽性が前面に押し出されている。Dマイルが手掛けた優美な"Messy Love"や、70年代風味のストリングスが効いた"Glad That You're Gone"、ラッキー・デイとの掛け合いが素晴らしい"Good Luck"など逸曲揃い。全体的にはネオ・ソウルのヴァイブが充満しており、ネイオの甘口なハイトーン歌唱がまろやかなソウルネスを醸す瞬間がたまらない。なかでもリアン・ラ・ハヴァスを迎えた女性讃歌"Woman"は声質の違う両者のハーモニーが絶品な、本作のベスト・トラック。
bounce (C)池谷瑛子