Add to library: ‘You Don’t Need A God’, ‘Take You Home’, ‘Friends’
Believe me when I say I did not expect the first 2019 release I would write about to be from bloody Dido.
Still On My Mind isn’t a bad record by any means. It’s actually rather gorgeous. But despite the considerable artistic growth it signals, the singer is forever destined to be an early-noughties punchline.
‘Dido’ is shorthand for the era of British dinner party music. The glossy, post-trip-hop splendour of megahits like ‘Here With Me’ and ‘White Flag’ set the scene for a glut of MOR starlets – from Jem’s wafer-thin folktronica, to Katie Melua pondering over Beijing’s bicycle population, backed by acoustic guitar and (trigger warning) a Chinese bamboo flute.
As a Dido fan, I can admit she excels at precisely two types of songs. There are the vanilla ballads that sent 1999’s No Angel and 2003’s Life for Rent flying off the shelves at Tesco. Then there’s the vanilla house tunes, both solo and with brother Rollo’s dance act Faithless, which in this example are supposed to represent Dido’s adventurous side.
The good news is, for much of her fifth record, Dido commits to a headier, more electronic sound. Don’t get me wrong – what counts as an uptempo on a Dido album is still highly relative. You probably won’t end up pre-seshing to synthy delights like ‘Take You Home’ (with its seductive ‘la la la’ hook) or ‘Mad Love’. We’re still in red-wine-on-the-patio territory here.
What you should appreciate is the confidence Dido and Rollo – together writing and producing the lion’s share of the record – have in this material. ‘Hurricanes’ opens with guitar plucks and a cold wisp of a vocal. So far, so familiar. But it builds in a way that no other Dido track has before, erupting unexpectedly into an intoxicating chillwave climax.
The next track ‘Give You Up’ works well because it does nothing of the sort. It’s the kind of sparse piano ballad Dido diehards will love, complemented by a stunning choir. This time, there’s no payoff, but the fact that I found myself waiting for one at all makes this a good lesson in how to raise (and toy with) a listener’s expectations in the space of two songs.
Musically, there are some nice surprises – from the horn-laden (and just plain horny) experiment ‘Hell After This’, to the Balearic tones bubbling beneath ‘Friends’. Yet the biggest shock of all comes from hearing the gentle, unassuming Dido finally acknowledge her commercial accomplishments: ‘I’ve done a hundred things / You’ve only dreamed’.
No matter how vanilla the songs may objectively be, the staggering success of Dido’s first two albums means her place in the pop history books is guaranteed. For the first time in a long time, Still On My Mind suggests she’s ready to use her platform in an interesting way.