Ella Eyre review, Everything, in Time: Pop singer deliver...

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Ella Eyre review, Everything, in Time: Pop singer delivers a confident comeback

On her first album in a decade, Eyre stretches out on empowering pop tracks full of warmth and integrity

Helen BrownFriday 21 November 2025 06:00 GMTComments

Ella Eyre sounds newly confident on her comeback record, ‘Everything, in Time’ (Kaj Jefferies) Roisin O’Connor’s

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“Where did I leave my soul? Where did I drop that ball?” asks Ella Eyre on her comeback album, Everything, in Time. It has, after all, been 12 years since her husky voice snagged clubbers’ hearts when she guested on Rudimental’s chart-topping “Waiting All Night” (2013) and a decade since the release of her solo debut album, Feline (2015). Although she released the dancehall-inflected single “New Me” in 2020, she last achieved chart success singing on Sigala’s “Came Here for Love” (2017) and “Just Got Paid” (2018).

It appears that, like fellow pop singer Raye, Eyre has really struggled to climb out of the box marked “Dance-Pop Guest Vocalist” into which her major label dropped her. Like Raye, she yearned to express herself on her own terms and so has regrouped and is releasing this music as an independent artist. And if Eyre’s solid, rasping pop-soul record lacks Raye’s original, buttonholing oomph, you can still feel the confidence she feels in stretching out in her own territory.

The songs on Everything, in Time are well crafted and (despite recent vocal surgery) Eyre’s voice remains a powerful instrument, capable of delivering lines with real narrative clout. Single “Space” is a brass-backed belter of an empowerment anthem, on which she demands a clear break from an ex: “Don’t want your face breathing in my universe/ I’m talking intergalactic, travel a light year away.” “Head in the Ground” has an old-school, hand-clapping gospel warmth with a swaggering bass and low-slung rap section courtesy of Tiggs Da Author.

Both the title track and “Red Flags & Love Hearts” are the songs most indebted to Eyre’s fellow Brit School graduate, Amy Winehouse. They emulate the late Camden queen’s loping, rattling drums and prowling, defiant, jazzy delivery. But they do it well. “Everything, in Time” features some deliciously funky electric guitar work. Eyre’s voice – lower and grittier than of old – reaches passionately into the confessional chorus (“I get ahead of my feelings/ Patience isn’t my thing”) with the lip-curling cool of a vintage Memphis diva. “Red Flags & Love Hearts”, meanwhile, struts away from old mistakes with Caribbean-inflected cool, calling out a gaslighter and owning her complicity in changing “all the words to every song that you sing”.

There’s an unexpected, proggy synthesiser on the mellower “Kintsugi” and a walloping melodramatic, rock guitar-backed vocal hook to “Ain’t No Love That Blind”. Over the relaxed, loping beat of “High on the Internet”, Eyre speaks for many of us in pulling away from the limiting dopamine hits delivered by scrolling. “Don’t get mad when I disconnect,” she sings, “I don’t mean no disrespect…”

In recent interviews, she’s spoken about the stress she felt agonising “for hours” about unkind comments about her music and appearance on social media. It’s pleasant to sink into the cushions of her new attitude. True, these songs feel familiar. But they still prop you up, with warmth and integrity.