Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.It's surprising how far one single can carry a performer, providing it's the right single, of course. In Natalie Imbruglia's case, the lone success of "Torn" sold millions of copies of its parent album, Left of the Middle, in the process establishing her as secret poster-girl for a generation of indie lads with unfulfilled protective instincts. Small wonder, then, that the follow-up single that leads off this second album, "That Day", should seek to replicate that same mood of emotional turmoil through breathless recitation of the circumstances that leave Nat not torn or naked on the floor, but "Sad, scared, small, alone, beautiful", which could be her answer to one of those magazine character tests that asks you to choose the five words that best summarise your personality. That done, however, there's no clear idea of where to go next – hardly surprising, given the scrum of producers (among them Ian Stanley, Gary Clark and Phil Thornalley) jostling to guide her career in one direction or another. The result leaves White Lilies Island resembling Baby Spice's solo debut: winsome, candy-coated indie-pop with big ambitions but no real focus or conviction, its token emulations of such as Garbage ("Sunlight") and U2 ("Beauty on the Fire") failing to ignite the bland atmosphere. It's not short of prospective hits – both "Wrong Impression" and the anthemic "Goodbye" are attractive candidates – but it's ultimately a meek-sounding record, with any rough edges smoothed out and Imbruglia rarely stretching for a persuasive emotional expression.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments