Given that Prioritise Pleasure was Rebecca Lucy Taylor’s (RLT) Back to Black, and that there’s been a lengthy wait for this new release, it’s no wonder that there’s so much anticipation around A Complicated Woman. Add to the mix her frankly jaw-dropping performance alongside Jake Shears in Cabaret in the West End, and you might be forgiven for expecting big changes. But Self Esteem knows a winning formula when she’s on to one. The reprise of perhaps her most popular piece, “I Do This All the Time” in the form of “I Do and I Don’t Care” begins with that same Luhrmannesque “Sunscreen” spoken word form, then reaches for the skies with its glorious, anthemic chorus “If I’m so empowered why am I such a coward?”. “I’m whingeing in a new way,” she says, never lacking in self awareness.
The single “Focus is Power” follows – another communal female right-of-passage sing along. And then comes the inevitable filth. Well, heavily-beat-led “Mother” sounds filthy. It’s actually a little aide memoire for the men – “I recommend listening.” Then comes “The Curse”, another mass-choral-focussed song saying what nobody else dares – alcohol may be a curse but it helps you get through. For me, it’s just a tad too Gaga, despite the hard-hitting lyrics “fuck you my friend, fuck you” and “I wouldn’t do it if it didn’t fucking work”. “Cheers to Me” is both super-catchy and fouled-mouthed (nine of the 12 songs on this album have an explicit warning, which is a shame for my 12-year-old niece who's a big fan) but somehow the sentiment clashes with the musical style. But, then again, on first listen I thought “If Not Now, It’s Soon” was too “poppy”. Now I know I was wrong (and, anyway, the inclusion of the legend that is Julie Hesmondhalgh should really have given me the clue).
Genre-hopping was always RLT’s bag and was one of the reasons some (including me) were late to the party. You never know where she’s heading next. Her songwriting is impressive – she excels in the ever-building chorus and its emotional power. She’s been quoted as saying she wanted to take things "stadium" – and she totally has. There will be voices lost after her shows in the autumn. Everything is now louder, bigger, more brash. Much has been written about her ideas, personal political position, feminism etc but there’s not much mention of her extraordinary vocal talents. This girl can sing.
Another bang-on collaboration with Moonchild Sanelly (“In Plain Sight”) is particularly powerful because of the juxtopsition between the sweetly sung, orchestra-and-choir backing and the “what the fuck you want from me/ I’m saving you, you’re killing me” cry from the heart. This is a very special piece. Nadine Shah and Self Esteem is another match made in heaven (shame they won’t be able to get in due to not doing their duty by sprogging off). In “Lies”, their voices are exquisite together and it's yet another song where you MUST pay attention to the lyrics (“keep her infantalised”).
Although she has a lot to say about women’s tribulations in these dark times, she never lectures and while acknowledging the appalling truths, she also manages to hang on to hope. The thing she does so well is balancing absolute (justified) rage with good old northern humour. There’s much, much more on this album and it’s a real grower. And next year, there’s a “a cathartic scream of a book” coming – I cannot wait.
Finally, there’s the genius artwork. From saucy cowgirl to crazy angry handmaid (how many others would have the guts to show themselves like this?). This woman has something much better than balls.
