High Expectations

Sometimes they feel almost too airbrushed, with Mabel playing it a little too safe to qualify being described as wholly original or progressive. There are moments of talent and flair, but it would’ve also been refreshing to hear more personality (and less autotune). Nevertheless, it’s an album that contains some real highlights.

There’s no faux-earnestness here. Whether Mabel is singing about messy break ups, mental health or empowering herself to move on, High Expectations is effortlessly cool.

With the exception of OK (Anxiety Anthem), produced unmemorably by the usually excellent MNEK, these 14 tunes could have been made by anyone with a well-oiled larynx. Even as Mabel’s voice stands proudly without Auto-Tune, High Expectations is just disappointingly all right, lacking any playfulness, or top spin, or a sense of who Mabel is.

A highly polished R&B-pop collection about every millennial issue from empowerment and self-love to mental health. [Sep 2019, p.112]

Despite some pleasant enough tunes, she lacks the vocal charisma to stand out from other wannabe Rihannas, Mileys and Dua Lipas. [Aug 2019, p.29]

Mabel’s gorgeous silky vocals soar, the glossy production is stellar, but the exuberance and effervescent attitude that make tunes like ‘Don’t Call Me Up’ so brilliant aren’t found throughout.

As it is, you’re left with a solid, well-made pop album that occasionally hints its maker might be more interesting and individual: time will show if that’s the case, but the immediate future seems secure.

Despite some over-zealous Top 40 attempts, High Expectations is a well-rounded pop record.